pay attention as to how it was shot.
FRAMING
I shoot for the edit. I frame for the drama.
LIGHTING
I believe there is no best way to light. Every film has its unique demands. Some directors may want 360 degree dollies while others do not move the camera at all; others like to work with marks while some do not; some schedule 20 shots a day while some just 10. In all cases, I have to find an approach that reinforces the director s instincts, stays within the production s resources while at the end the day, elucidates the drama.
FORMAT
Whether it is Super 16, HD or 35mm, I am format agnostic. I work closely with the director and producer to not only choose a viable format; but also, to exploit it to the fullest.
EQUIPMENT
Through my contacts with vendors and rental houses; my collaboration with key personnel; and from years of shooting at a variety of levels – I keep productions from paying for unnecessary gear, while making sure we have what we need. But I also believe in finding ways to get the most of what you got.
POST
My job does not end on the set. I supervise the look of the film from dailies to digital intermediate through release prints. In post, the DP s eye is critical in creating the finishing touches as well as maintaining a visual continuity and integrity.
MOVIES
From classics to new release, from horror to romance, I know my films and genres. It’s the experience of escaping into a great film that I’m passionate about. I’m not a gadget head, don’t fall in love with shots or obsess about technical matters. I do obsess about films that move me and do all I can to be part of making them.
Quotes from some famous DP’s……
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