There is this massive misinterpretation of what a real DP is. Within the world of independent feature films, most of the time, DP's have to juggle between being the actual camera operator to managing the entire visual aspect of the production.
If you want to move from doing Indie feature films to Hollywood film sets, you need to erase everything you have done on an Indie film set and rebuild your mindset.
What is a Director of Photography?
A Director Of Photography manages the camera, electrical, and lighting departments. The DP is the heart of the photographic environment that creates the look of the screenplay. They are the general managers of an office, and their job is to take the Director's vision of how they want it to look and creatively bring it to life.
Did you notice that I referred a movie to a business? Every movie set or production is not supposed to be like a hobby. It is supposed to be treated like a business because that is what it is.
When an Independent Feature Film hires a DP, they think the DP will operate the camera, pull focus, and get the image to look great.
But there is one problem with this, it isn't efficient.
Yes, sometimes the DP will be the one to operate the camera, but what if there is more than one camera on set? A DP can't effectively run two cameras at once.
Your job as the DP is to be that department head over the lighting, electrical, and camera teams and effectively communicate the vision to your team. A DP is more than just a camera guy; he brings the concept to life and has the education to properly articulate it by pulling it from word to screen.
A solid DP has the knowledge to understand lighting and how to paint lighting to convey emotions. They have the wisdom behind the cameras, and they know the limitations and strengths of each camera or what I call; a Tool. After reading through an entire script, they should be able to determine what tools are suitable for the production.
Leadership, Knowledge, Communication, and being a Team Player are the must-have essentials to being a solid DP on set.
Who Does a DP Manage?
Camera Department
Camera Operators - These are the people holding the cameras and some major film sets have multiple teams set up like A team and B team. Sometimes the DP will be a cameraman, or sometimes the DP will assign someone to be it. They know how to set up the camera, whether on a tripod, dolly, drone, or Steadicam, and get settings dialed in to master the shot. When the DP is the cameraman, they are often referred to as cinematographers. If the DP assigns another person to run the camera, they are referred to as the camera operator. Camera Operators play a vital role in supporting both the DP and the Director in carrying out the creative image.
First A/C - First Assistant Camera is the most important person on a set. A First A/C is responsible for building the camera rig, measuring the focal distance from the camera to the subject, and focusing on the filmed topics. A tremendous first a/c will know how to pull focus and keep the image sharp. There is, however, much more involved. You are the technical guru on set. The First A/C knows everything about the camera system, how it works, how it breathes, and what the drawbacks are, and a great A/C will always know what will work and what doesn't. These guys are your bread and butter, and they are the head of the camera department. During pre-production, these guys will go to rental houses and test gear. They will also make sure everything is ready on schedule. In addition, they must know how to maintain and care for each camera system on set. The First A/C will also be responsible for the build-out of the camera system and the swapping of lenses. They are the guys that will not look through a lens but measure distance and keep focus. One significant responsibility is maintaining and updating the Dope Sheet.
Second A/C - The Second A/C works under the first A/C by running slate or the famous clapper board at the beginning of each scene. They also are responsible for loading the film stocks on set or, if digital, the Media cards. The Second A/C is also responsible for transporting the gear from location to location. They will also tape down camera marks for the First A/C and update the camera reports with aperture, lens, and focus settings. These camera reports are vital for a successful production. These reports are used in case of reshoots in the future, and it will allow them to replay the exact shot using the same settings.
The Loader - Not to be confused with the Second A/C. These guys back in the day would be responsible for loading the film stocks into the magazines and giving them to the Second A/C. Nowadays, it is more of digital media. They work between the DIT and the Second A/C on set and manage the inventory of media. This position, however, is now less common or needed because the second A/c typically works hand in hand with the DIT.
The DIT - The DIT or Digital Imaging Technician is solely responsible for image quality control. They do things like on-set color correction and manage the workflow of a production. In addition, they handle all the data and distribution of the data. For example, if a memory card fails, it falls on them. They take the full card from the Second A/C, dump it, and organize the files on set. They will also send uncompressed files to the editor so they can make the dailies. These guys have a vast knowledge of everything technical like cameras, codecs, color science, laptops, you name it, they know it and are a must-have.
Production Assistant to the Camera Team - Often, these guys are interns or just getting into the industry. They will help out on set by doing any necessary duty you throw at them. They are there primarily to learn and grow.
Lighting Department
Gaffer: The Gaffer is considered the Chief Lighting Technician or, in-office terms, the Supervisor of the lighting department. They lead the team in installing lighting and arrange the electrical department for proper power supply. In addition, the gaffers work closely with the general manager or The DP to help articulate and interpret the overall look the DP envisions. On larger skill productions, there may be more than one Gaffer on set, where the second one would be in charge of the rigging team but will still fall under the main Gaffer. One of the most essential roles of a Gaffer is risk assessment or health and safety. They do these assessments to provide overall electrical safety on set. They are also responsible for picking the proper tools for the set, such as rigging, light equipment, etc...They also check the equipment lists with the best Boy and keep and oversee that the work is completed within the budget.
Best Boy - I know, who comes up with these names, but the best Boy is the one that falls directly under the Gaffer and is the best electrician on the lighting team. They are also referred to liaising with the other production team members. They will issue written orders and assist the Gaffer in co-ordinating the other lighting techs on the team.
Generator Operator - This just is what it says it is. They operate the generator, and it is a skilled role. These operators are trained to know the generators inside and out. They know how to properly maintain and run the generators.
Lighting Technicians - These guys are the diamond in the rough. They carry out the order written by the Gaffer, which is given to the best Boy and the lighting technicians on set. These guys are also known as Sparks on set. If you ever go on an extensive set and hear I need a spark you know what they are now referring to. These guys are fearless and will climb to any height needed to achieve the proper lighting, so you can only imagine how in shape they are. Lights are not light..lol...When you have to haul around a huge HMI Light, you will know what I'm talking about. This job is very physical and requires good stamina as well as agility.
THE DP MIGHT BE THE HEART, BUT THE REST MAKE UP THE BODY
Every position in the camera, electrical, and lighting departments plays one of the most vital roles in the production, which is carrying out the image. The DP is the district manager or overseer; they must carry strong leadership capabilities. On independent projects, you rarely would see a crew of this magnitude on set, and some of the time, it is because the lack of education, but other times, it is lack of funding.
You might be used to being on smaller projects where you have to do mainly everything, but this is a no-go on a more significant production. Moving from smaller projects to bigger productions can make you want to micro-manage. Don't be that guy.
A good DP works hand in hand with the Director and creatively knows how to master a unique image that conveys the story through emotions.
FILM SCHOOL ISNT WORTH IT
You don't need film school to be a DP, but proper training and education are worth it. Trust me, I went to film school and got my Bachelor's Degree, and I ended up teaching my instructors more than they taught me. Yes, expensive lesson learned.
My advice? Get hired on film sets to be a camera PA and study what it means to be an actual Camera Department on a film set. Don't be scared to ask questions, but please save the questions till the end of the day. Everyone has a job to do and not enough time for jabber.
The Difference Between an Indie Film and a Hollywood Film
Indie Projects tend to have minimal to no budget planned, they dont typically have enough crew to run an efficient set, and the cast isn't made up of A-listers like in Hollywood. You will have some amazingly talented cast on set every once in a while, but most are just starting out and learning.
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