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Hi everyone! I recently have been getting into this as a career. I am based in Vegas, so production work is a little slow; my long-term goal is to become a cinematographer for documentaries and films, but currently, I am trying to make ends meet and upgrade gear. I have taken on some event work. Videography jobs for some small events, corporate shoots, and online courses. It's not the "dream work" or the place where I have the most artistic control but I still try my best to give the clients the best work possible. This side of my freelance has been growing as I get recommended to others, and it seems I am starting to gain ground on a videography job. I am working with a friend to create passion project films, as Vegas is pretty dried in the indie film corner. Very rarely do we have films made by people who haven't traveled in the crew, or there are usually people with much more experience being picked up. Is there any advice on balancing the need to make money and building a career with a body of work that could get into more features and documentaries? Should I separate these bodies of work to create an altered identity, reel, and portfolio for events and then one for more "artistic" work? I really don't want to do event videography for the rest of my life. I love being behind the camera and creating images; I hope they will last. Any advice is appreciated, and I wish to learn how to balance these two seemingly very different worlds.
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Taken from the industry showcase and networking channel of IN / DEVELOPMENT. Got their YouTube here: https://www.youtube.com/c/indevelopment Below is copy-paste, but the links are super interesting and Stephen's insight and honesty is wonderful. The series seems to have just started so might post more if they're great. Can't see anyone else mentioning them before. - - - Joe Douglas talks to fellow cinematographer Stephen Murphy about his professional journey, a few memorable productions and his view beyond the current pandemic. FEATURING SCENES & COMMENTARY FROM - The Favourite, The West Wing, The Moonstone, Hanna, Line of Duty, Years & Years, Krypton, Death and Nightingales and more. STEPHEN MURPHY - BSC, ISC https://www.stephen-murphy.com/ https://www.imdb.com/name/nm1094426/ https://www.wp-a.co.uk/clients/stephe... https://www.instagram.com/stephenmurp... JOE DOUGLAS http://joedouglasdop.com/ https://wizzoandco.co.uk/agency/joe-d... https://vimeo.com/joedouglasdop https://www.instagram.com/joedouglasdop/
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Hey Guys, Im curious on getting seen or how to get in contact with agencies? How have you guys gotten your agents? I have done a lot of research and there is not much info about how DP's get agents. Do DP's email agencies their reel and make the first contact or do they come find you? What is everyones experience with this. I want to contact agencies myself but dont know if this is the right path. Thanks for you advice!
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Okay, guys and gals!! I have a few questions that hopefully the wealth of knowledge here can answer. First a disclaimer, (I actually like disclaimers for some weird reason): My goal is to lens commercials, films (short or long format), and the occasional music video. If given the opportunity, of course. I currently work for a production house that does very little in all those categories. So in the best interest of my personal goals I'd like to submit the following questions.: Is there a benefit to aligning oneself (as a cameraman/cinematographer/DP) to an ad agency? What are the challenges that arise when you build up a narrative reel, when trying to get into commercials and other types of work? Is it easy to get pigeon-holed as a “Insert Category” DP, or is that something that one unconsciously gravitates to? If most of your current work is primarily short form narrative; How do you branch out into other categories of work? There have been several examples of DPs rising through the camera department ranks, getting the nod for commercial work, narrative, etc., or gaining an opportunity for narrative work through documentary work; how often does that happen nowadays? Is there something that I may be missing as far as learning about how the political climate of our craft is going? Does that vary from region to region? If so, what is it like currently in Texas? (I live in Houston, where the bulk of the work is news and oil & gas.) Should I talk with a Union Rep. to figure out how I can better align myself with shooting productions in the aforementioned categories? There are only a handful of people in my state, that have any dealings with unions, and I'm wondering; Would it be better to move to another city, and start all over with the title “aspiring DP”? I'm sure I'll have a ton of other questions, but these are the most nagging to me!! Thank you in advance for your epic help!!!
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This may be the silliest post ever but here goes... I was recently approached by a very successful Director and asked if I would be interested in shooting his next film. I've only been shooting for three years. I have shot broadcast commercials and brand videos mostly, never a feature. Part of me couldn't image why this question was asked of me in the first place. The project is absolutely NOT a small budget independent film. I guess he sees something he really likes, but how the heck could I know if I'm ready for something like that? Obviously a wide open topic and there's limited information I can give out but... Insights welcome.
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Hello, I found these two articles about the Top Ten Schools in UK & US. I'm mostly agreed but I wonder what this type of ranking can worth? I mean is this accurate? I know finding an University can be confusing.I know I'm confused myself right now looking for mine. But I wonder.... So In you opinion What are the best school and do you think, this kind of ranking is trustable? Here the links http://talesfromtheargo.com/uk-film-schools/ http://talesfromtheargo.com/top-us-film-schools/ Cheers Guys PS : I read a lot of Bad reviews on MET Film School but apparently now it's recommended by NFTS??? https://nfts.co.uk/sign-me-up/pathways-nfts What do you think of that as well?
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Masterclass with Steven Poster, ASC - Donnie Darko Don't miss this conversation! Seating is limited & lunch is included. Saturday, November 15 from 10:00 AM to 3:00 PM Following a screening of Donnie Darko, cinematographer Steven Poster, ASC will present an overview of his collaboration with visionary director Richard Kelly and deconstruct key scenes from the film. Poster will also deep dive into his projects and inspirations, and share his secrets about how to persevere and flourish in the film business across many years. register here: http://bit.ly/1tJvE3e
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I was wondering what you think contributes to making a cinematographer better than average, and even truly great. In terms of not only the success of his career, but also his craft, self discipline and general habits we might learn from. Roger Deakins, Emmanuel Lubezki, Gordon Willis come to mind, but also anyone you personally admire who might not be as well known. Share your thoughts, and also feel free to post about any time you met a cinematographer who you feel is a role model to you, and what kind of impression they made.