I'm in the final year of film school, cinematography department, and I'm currently preparing to shoot my graduation project, this video of yours, you have no idea how helpful, informative, eye-opening is is for me, thanks a million :) liked and subscribed for sure, stay brilliant :)
As someone interested in writing and directing films with extremely limited knowledge of the intricacies of great cinematography this was super helpful and interesting
As a student interested in various parts of filmmaking, I deeply enjoyed this video! Insightful information, delivered in an informative and visually appealing way and a great structure! Thanks a lot from Austria! :)
So glad to be back to these incredible analyses! This relationship is probably the most intriguing next to the Director/Actor collaboration. The trust and the ability to communicate on visual terms to convey meaning and emotion is paramount, and I think that’s often overlooked when Directors interact with DOPs. Guess I’ve gotta work hard on my storyboards then 🤣 One Director’s work that would be interesting to analyse is Denis Villeneuve. Even though he works with several DOPs, his films feel like his. Meditative, expansive and focused. I wonder what cinematic decisions he makes beforehand to ensure his style is present before opening up the collaboration with his DOP.
My spontaneous guess would be that he does a lot in editing - while others feel the best thing for their film is to cut and put new pictures in front of the audience, Denis Villeneuve likes to stay in one shot for a longer time which gives us this focused, meditative and calm feeling. I have the feeling Arrival and Blade Runner 2049 were quite slow at times with focus on 1 nice shot rathen than 3. Also his choice of music plays a big part for the vibe as in all films. But that's just the first thing that came to my mind - I am sure you already have an opinion. What do you think and what's your favorite film by him you think I should watch (if not Arrivel, Blade Runner or Prisoners)?
@@captain_giacco I agree with you. He's not afraid to take his time with his films regarding pacing. He definitely has a very defined idea about his cinematic style that's easily seen throughout all of his films, all the way from Polytechnique onwards. I think that you should definitely watch Incendies, Enemy and Polytechnique and in that order. These were the films he made before and during making Prisoners (before Hollywood really came calling) and they represent a good amount of the non-mainstream work he's done. I'd go as far as saying that Incendies is the strongest masterpiece amongst his masterpieces.
In The Big Lebowski, there's a dream sequence of Jeff Bridges flying. The lighting and cinematography is just wow in that scene... It's the Coens and Roger Deakins.
Please dont mix up Adrew Lau Cinematography with Christopher Doyles, many of Wong Kar Wai movies have multiple DOP and should not give Christopher Doyle all the credits for it. Especially Chung King Mansion the style of how the two stories were filmed were fastly different and noticeably Andrew Lau slow shutter styled, while Doyle was more handheld approach.
Amazing! Thank you for the quality content and education. Can you make a video about Directors and their relationship to Screenwriting/Screenplays? Also one about the steps that starting as a director practically involves. And more videos exploring the different working methods of different directors. Thank you so much 🙏🏽
Beautiful video. Very few tutorial videos like these are able to articulate the technical craft and artistic vision in the right balanced manner while breaking down the craft!
Roger Deakins - Sam Mendes, Denis Villeneuve and The Coen Brothers. Deakins also did cinematography for films like The Shawshank Redemption, M. Night Shyamalan's The Village, In Time with Justin Timberlake and Amanda Seyfried and Rango with Johnny Depp Janusz Kaminski - Steven Spielberg (starting with Schindler's List)
Personally I prefer working with directors that have ideas in their mind regarding cinematography, but are also open to input from the cinematographer. To me the action of the characters and key props are really important as well, because those can help me come up with good shots that tell a lot. The relationship with the DoP and the Director is really important, but I think what is the most important is that the Director believes in their DoP. I have met Directors in school that believe they know what is best, but have no knowledge on the technical stuff. It is important to remember that DoP's can create the look you want in the way you want because they have the knowledge too, and believe in their ideas because a lot of times those look good on the screen. Maybe not 100% like what you imagined in your head, but as close as possible hopefully.
actually, framing and shooting is also the director's job. the director has the image and movement in his/her head, and the DOP is the one that knows how to technically achieve that image, as in lighting, lens, color, etc.
Not true. As mentioned in the video, there is no hard and fast rule. The dynamics are fluid and change constantly depending on the Director/DP relationship. I speak from 10+ years on-set experience as a 1st AD.
This is such a beautifully done video. Thank you for that breakdown and great footage from some of my favorite directors and DOPs. Great info for someone like me just starting making some short films and footage from my photography experience.
Thank you!! Can you please make a video series about the various elements that go together while creating a vision, if not the entire film, at least covering a scene or a sequence and how they achieved that particular effect and why they used what they used and the whole process of transformation from script to screen. It would be helpful if you could cover the technical aspects in detail as well, like lighting design, colour temperature, lens choices.etc. Thank you for your video analysis, they're awesome 👍🏻
Thank you for this video! I am currently working on a film project in school, and my professors didn’t explain the difference between the role of the director and DoP well enough, so I have been confused. Currently I am the DoP on this project, so it is nice to know what to do
My impression, from having worked for directors who are known for their strong and identifiable visual film style, is that those who have inherent artistic skills in photography, illustration or painting (Ridley Scott, David Fincher, Stanley Kubrick as famous examples) tend to have a steady approach that reflects on every film they make regardless of who the DP is. That's because they're using the film medium to recreate their graphic vernacular onscreen. Those are the directors who use a similar approach on every film. Of course, few directors have really strong background as plastic artists and therefore, directing in general is more open and flexible than it is for that specific elite. Basically, not everyone comes to the dance with equal skills. Directors who have strong artistic backgrounds cannot stand allowing other egos to compose a frame because so much of their sensibility rests on extremely subtle modulations of what goes into those frames -- all the way from blocking and staging to lens usage, art direction and color grade.
I keep thinking about this video! It would be super interesting if you could do one about the relationship Screewriter-Director, and like, where is the story created? The case of Pirates of the Caribbean it's very bizarre and fun.
6:15 Not sure what the full quote is or its context but it should be said that softness (if defined by the shadow edge) does not increase with adding more diffusion
Hi, i know i'm a little bit late but just to correct you on one point, some of the well known step printing scenes associated with wong kar wai are actually filmed by Andrew Lau, his DOP on As Tears Go By and on the first part of Chungqin Express. Otherwise excellent video as always !
Thank you for this video it definitely cleared some things up for me. Who are your favorite director/dp duo? Mine is director park Chan wook and dp Chung Chung hoon
Great review about collaboration. I love inside Lewis Daivis film. This texture of frame is interesting for me and you explain quite well. And Wor Kar Wai...and his collaboration are important. You don't say nothing about my 'blueberry night' but no is the same energy that films with Christopher Doyle.
Hey, great channel !!!! As a film student this is golden !!! Carry on the good and interesting work ! Also, you should definitely use a progressive image settings for your project when you edit your videos. I believe you're using something around 1080i, and you should be using 1080p (indeed change the "i" for "p") and you'll rid off these choppy bars transitions when images are moving in the videos
As someone who often finds themselves as a DP it’s annoying when a director has a visual vision and didn’t tell me they have it and inact that vision by not approving shots that don’t align without telling me why. It made me angry last week a director wanted flat shots that looked like old black and white comedies (I disagree with the choice but could have made it work) problem being he didn’t tell me and I was composing in a modern dynamic way and we had so much tension as I felt he was distorting every shot I composed to be flat and boring. It was only half way through production he told me about his intentions and I was so miffed as I not only could compose some really nice shots if I knew this but was annoyed he didn’t give me a chance to dissuade him from pursuing this creative decision or have time to prep and rewatch the old black and white classics
You are wrong about Zhang Yimou, both are shot by Zhao Xiaoding. Though Xiaoding credit in Hero been down graded to camera operator, the entire movie had zero influence by Doyle, that is why the look is still consistent.
I'm loving the videos. Can you make a breakdown on Star Warts The Force Awakens? And if possible, please make a video on LOST the series. That's where everything begun for me as a director of photography.
Super cinematic Tips amazing colour pattern I would like to that type of back ground settings and visual effects and soft lights and on the situation which light is focused well, I observed everything I able to follow ur Tips then I will successsul .hatsoff deksen director.
6:41 A silhouette is not a shadow though... Why did you choose this shot? there's tons of examples of hard lighting in Deakin's work, even in No Country alone.
As someone who used to work in movie Art Departments, I’m surprised to see Production Design under something you feel the DP would collaborate on. I’ve never seen a DP who cares about Production Design, despite it being one of the primary factors in creating the images they capture. In fact, only the best Directors get deeply involved with Production Design. None of the Directors you cover here would fall into the category of a Director who doesn’t care, but it’s common. Often they just want to see a few options that the Props Master, Art Director, or Production Designer prepare and then they choose one. Some Directors don’t even want to choose. They just want the Art Department to do their job and let the Director focus on the Actors. They are the most fun Directors to work for, but don’t always make the best movies.
Great video! Little correction as a french speaker : "Mise en scène" does not mean design of the settings. It actually means the directing of actors. It's a term traditionally used in dramatic art. Peace!
There are definitely some examples of that. Steven Soderbergh is known for both shooting and directing some of his films (he used an alias in the credits). Phantom Thread is also an interesting film, which I plan on analysing soon, as they made it without crediting a DOP - instead collaborating on the visuals between Anderson, the camera operator and the gaffer.
@@InDepthCine I know he is fairly similar to Rina Yang. It could be an interesting angle to study what direction cinematography is taking for the upcoming generations. Like you mentioned, towards the realistic, unpolished and dark looks
Dop must also own 100% what he's shooting IMO. He's the director's right-hand man. Especially in cases of lasting partnerships, I'm sure this shines through. I'd imagine him as a safety net cause once all that equipment is stored and everyone goes home, it takes a shitload of money to correct. On top of this, how cool would it be for a DP to spot 2 or 3 little details that elevate his picture even more. Makes the editors work easier, the directors, the studios, everyones.
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
Who are some of your favourite director/DOP duos?
SUPPORT THE CHANNEL: www.patreon.com/indepthcine
WONG KAR-WAI and CHRISTOPHER DOYLE!
Christopher Nolan and Hoyte van Hoytema
Chistopher Nolan and Hoyte Van Hoytema
Sam mendez and Roger Deakins
Denis Villeneuve And Roger Deakins
The Coen Brothers and Roger Deakins
Luca Guadagnino and Sayombhu Mukdeeprom
Christopher Nolan and Hoyte van Hoytema
YES just the content we need! Almost no one is making content about this topic, so thank you
Indeed
I agree. I've always wondered how so many different aspects of a motion picture work together to become the final product.
Dekeson is expert tips about film hatsoff dekson style .
I'm in the final year of film school, cinematography department, and I'm currently preparing to shoot my graduation project, this video of yours, you have no idea how helpful, informative, eye-opening is is for me, thanks a million :)
liked and subscribed for sure, stay brilliant :)
Good luck.
Thats kinda weird that a youtube video can be helpful to a 4th year student of a thing ...
@@Woodsaras He probably recently chose the cinematography path.
Besides, learning is a continual thing that will extend outside of the classroom
Hello bro
I'm srinath reddy pursuing MA Film production in UK
As someone interested in writing and directing films with extremely limited knowledge of the intricacies of great cinematography this was super helpful and interesting
I'm an indie director and finding the right DP is so important. Thanks for your channel, it's great.
What kind of films do you make? I’m an aspiring writer/director too :)
As a student interested in various parts of filmmaking, I deeply enjoyed this video! Insightful information, delivered in an informative and visually appealing way and a great structure! Thanks a lot from Austria! :)
Second thanks from Austria, great video! :) & hi Max, maybe we'll see each other at the Diagonale ;)
I feel like this channel is a resurrection of Every Frame a Painting and it's absolutely brilliant.
So glad to be back to these incredible analyses! This relationship is probably the most intriguing next to the Director/Actor collaboration. The trust and the ability to communicate on visual terms to convey meaning and emotion is paramount, and I think that’s often overlooked when Directors interact with DOPs. Guess I’ve gotta work hard on my storyboards then 🤣 One Director’s work that would be interesting to analyse is Denis Villeneuve. Even though he works with several DOPs, his films feel like his. Meditative, expansive and focused. I wonder what cinematic decisions he makes beforehand to ensure his style is present before opening up the collaboration with his DOP.
My spontaneous guess would be that he does a lot in editing - while others feel the best thing for their film is to cut and put new pictures in front of the audience, Denis Villeneuve likes to stay in one shot for a longer time which gives us this focused, meditative and calm feeling. I have the feeling Arrival and Blade Runner 2049 were quite slow at times with focus on 1 nice shot rathen than 3. Also his choice of music plays a big part for the vibe as in all films. But that's just the first thing that came to my mind - I am sure you already have an opinion. What do you think and what's your favorite film by him you think I should watch (if not Arrivel, Blade Runner or Prisoners)?
@@captain_giacco I agree with you. He's not afraid to take his time with his films regarding pacing. He definitely has a very defined idea about his cinematic style that's easily seen throughout all of his films, all the way from Polytechnique onwards. I think that you should definitely watch Incendies, Enemy and Polytechnique and in that order. These were the films he made before and during making Prisoners (before Hollywood really came calling) and they represent a good amount of the non-mainstream work he's done. I'd go as far as saying that Incendies is the strongest masterpiece amongst his masterpieces.
In The Big Lebowski, there's a dream sequence of Jeff Bridges flying. The lighting and cinematography is just wow in that scene... It's the Coens and Roger Deakins.
The way you explain things so easily and so softly is truly amazing, love your videos.
Please dont mix up Adrew Lau Cinematography with Christopher Doyles, many of Wong Kar Wai movies have multiple DOP and should not give Christopher Doyle all the credits for it. Especially Chung King Mansion the style of how the two stories were filmed were fastly different and noticeably Andrew Lau slow shutter styled, while Doyle was more handheld approach.
The quality of information in this video is sooo excellent and in depth, thank you!
Amazing! Thank you for the quality content and education. Can you make a video about Directors and their relationship to Screenwriting/Screenplays? Also one about the steps that starting as a director practically involves. And more videos exploring the different working methods of different directors. Thank you so much 🙏🏽
Beautiful video. Very few tutorial videos like these are able to articulate the technical craft and artistic vision in the right balanced manner while breaking down the craft!
The quality of your videos are consistently impressive. I have definitely learnt a lot about different processes of cinematography. Please keep it up!
Roger Deakins - Sam Mendes, Denis Villeneuve and The Coen Brothers. Deakins also did cinematography for films like The Shawshank Redemption, M. Night Shyamalan's The Village, In Time with Justin Timberlake and Amanda Seyfried and Rango with Johnny Depp
Janusz Kaminski - Steven Spielberg (starting with Schindler's List)
Personally I prefer working with directors that have ideas in their mind regarding cinematography, but are also open to input from the cinematographer. To me the action of the characters and key props are really important as well, because those can help me come up with good shots that tell a lot. The relationship with the DoP and the Director is really important, but I think what is the most important is that the Director believes in their DoP. I have met Directors in school that believe they know what is best, but have no knowledge on the technical stuff. It is important to remember that DoP's can create the look you want in the way you want because they have the knowledge too, and believe in their ideas because a lot of times those look good on the screen. Maybe not 100% like what you imagined in your head, but as close as possible hopefully.
Well said, as a director I like to collaborate with DOP!
actually, framing and shooting is also the director's job. the director has the image and movement in his/her head, and the DOP is the one that knows how to technically achieve that image, as in lighting, lens, color, etc.
Not true.
As mentioned in the video, there is no hard and fast rule. The dynamics are fluid and change constantly depending on the Director/DP relationship. I speak from 10+ years on-set experience as a 1st AD.
This is such a beautifully done video. Thank you for that breakdown and great footage from some of my favorite directors and DOPs. Great info for someone like me just starting making some short films and footage from my photography experience.
Deakin's work is beautiful. 😍
Agreed. That man makes art with the films he is involved in. Blade Runner 2049 being one example, is absolutely gorgeous!
very insightful comment there.
@@Oceansta is yours?
Thank you!! Can you please make a video series about the various elements that go together while creating a vision, if not the entire film, at least covering a scene or a sequence and how they achieved that particular effect and why they used what they used and the whole process of transformation from script to screen. It would be helpful if you could cover the technical aspects in detail as well, like lighting design, colour temperature, lens choices.etc. Thank you for your video analysis, they're awesome 👍🏻
Good idea. I might do a video on the creation of a specific scene from start to finish in the future.
This channel is a gem, I am glad I have found it.
Legit a question I've always asked, you make such great videos❤️
Thank you for this video! I am currently working on a film project in school, and my professors didn’t explain the difference between the role of the director and DoP well enough, so I have been confused. Currently I am the DoP on this project, so it is nice to know what to do
My impression, from having worked for directors who are known for their strong and identifiable visual film style, is that those who have inherent artistic skills in photography, illustration or painting (Ridley Scott, David Fincher, Stanley Kubrick as famous examples) tend to have a steady approach that reflects on every film they make regardless of who the DP is. That's because they're using the film medium to recreate their graphic vernacular onscreen. Those are the directors who use a similar approach on every film. Of course, few directors have really strong background as plastic artists and therefore, directing in general is more open and flexible than it is for that specific elite. Basically, not everyone comes to the dance with equal skills. Directors who have strong artistic backgrounds cannot stand allowing other egos to compose a frame because so much of their sensibility rests on extremely subtle modulations of what goes into those frames -- all the way from blocking and staging to lens usage, art direction and color grade.
This channel is pure Gold
This is the content that I need for so long time. Thanks!!!
This channel is so incredibly inspiring to me. Thank you. 🙏🏼
this chanel its soo dam good, teaches me soo much, and i dont understand why dont have many people looking at it
I keep thinking about this video!
It would be super interesting if you could do one about the relationship Screewriter-Director, and like, where is the story created?
The case of Pirates of the Caribbean it's very bizarre and fun.
Amazing stuff bro! Keep up the videos, they are really great!
I needed this, thank you!!!
6:15 Not sure what the full quote is or its context but it should be said that softness (if defined by the shadow edge) does not increase with adding more diffusion
I always wondered. I think this channel will answer all my questions which nobody else talks about.
This topyc is so important, thank you for talking about it
This clears things up a lot! Thank you
Hi, i know i'm a little bit late but just to correct you on one point, some of the well known step printing scenes associated with wong kar wai are actually filmed by Andrew Lau, his DOP on As Tears Go By and on the first part of Chungqin Express. Otherwise excellent video as always !
I´m a simple man... I see Wong Kar Wai, I klick on the video.
Remember me when you hit 1M! Many thanks for sharing the knowledge and experiences!
Love from Nepal❤
This is a great video on the process. I used to ask who was responsible for Kubrick’s beautiful shots.
Thank you SO much for your excellent work! This is really helpful.
Great video! This is something I’ve been personally wondering a lot about and you did a great job answering it. Thank you :)
This video is incredibly helpful. Thank you so much
This video is amazing. Also loving the ambient music in the background, this vid was made for me. lol
Thank you for this video it definitely cleared some things up for me. Who are your favorite director/dp duo? Mine is director park Chan wook and dp Chung Chung hoon
Please do one on Wong Kar-wai and Christopher Doyle! 🙏 They did Chungking Express, In the Mood for Love and 2046 ❤️
I'm working on directing a short film I wrote and also want to DP it. this video has been insightful on how to communicate with myself
Great quality video, very informative! Thank you
Super interesting video, definitely should be shown in every film class
Great review about collaboration. I love inside Lewis Daivis film. This texture of frame is interesting for me and you explain quite well. And Wor Kar Wai...and his collaboration are important. You don't say nothing about my 'blueberry night' but no is the same energy that films with Christopher Doyle.
Didn’t even mention the greatest DOP Director duo: Bergman and Nykvist.
You are the best bro
You do awsome work
Keep it up,sure you will gain more👍👍👍
Thanks very much for the support!
Hey, great channel !!!! As a film student this is golden !!! Carry on the good and interesting work !
Also, you should definitely use a progressive image settings for your project when you edit your videos. I believe you're using something around 1080i, and you should be using 1080p (indeed change the "i" for "p") and you'll rid off these choppy bars transitions when images are moving in the videos
As someone who often finds themselves as a DP it’s annoying when a director has a visual vision and didn’t tell me they have it and inact that vision by not approving shots that don’t align without telling me why.
It made me angry last week a director wanted flat shots that looked like old black and white comedies (I disagree with the choice but could have made it work) problem being he didn’t tell me and I was composing in a modern dynamic way and we had so much tension as I felt he was distorting every shot I composed to be flat and boring. It was only half way through production he told me about his intentions and I was so miffed as I not only could compose some really nice shots if I knew this but was annoyed he didn’t give me a chance to dissuade him from pursuing this creative decision or have time to prep and rewatch the old black and white classics
You are wrong about Zhang Yimou, both are shot by Zhao Xiaoding. Though Xiaoding credit in Hero been down graded to camera operator, the entire movie had zero influence by Doyle, that is why the look is still consistent.
I watched your other video on the path to becoming a DP I’m on the 3rd path as well
great video!! few like u that makes the following process of the video easy and very understandable.
You are the best,binging on youre content💯❤👌🏼
You narrate well. Much appreciated 👏
Just discovered this channel! Instant subscribe.
Man... so good videos, you are very under-viewed. I belive you'll take off soon. Good luck! I'll wait in the suscriptors area :)
Well done! Great insight. Subscribed. 👍
this is enjoyable to watch, also informative
I'm loving the videos. Can you make a breakdown on Star Warts The Force Awakens? And if possible, please make a video on LOST the series. That's where everything begun for me as a director of photography.
Wow. I learned so much from this.
great video !
- just subscribed
Coen Brothers and Mr. Deakins!!
Great video! Wonder if theres something like that about collab between director and sound editor
Alex Garland has an interesting approach to directing if you ever listen to him talk about it.
Awesome content and bgm
Awesome content. Thank you.
Super cinematic Tips amazing colour pattern I would like to that type of back ground settings and visual effects and soft lights and on the situation which light is focused well, I observed everything I able to follow ur Tips then I will successsul .hatsoff deksen director.
I think im in love with your channel
Can a director be a cinematographer at the same time?
6:41 A silhouette is not a shadow though... Why did you choose this shot? there's tons of examples of hard lighting in Deakin's work, even in No Country alone.
Deakins and Don Burgess are my favorite cinema to graphers
Fantastic content. Congratulations 👏😍👏
As someone who used to work in movie Art Departments, I’m surprised to see Production Design under something you feel the DP would collaborate on. I’ve never seen a DP who cares about Production Design, despite it being one of the primary factors in creating the images they capture. In fact, only the best Directors get deeply involved with Production Design. None of the Directors you cover here would fall into the category of a Director who doesn’t care, but it’s common. Often they just want to see a few options that the Props Master, Art Director, or Production Designer prepare and then they choose one. Some Directors don’t even want to choose. They just want the Art Department to do their job and let the Director focus on the Actors. They are the most fun Directors to work for, but don’t always make the best movies.
Great video!
Thanks!
Great video!
Little correction as a french speaker : "Mise en scène" does not mean design of the settings. It actually means the directing of actors. It's a term traditionally used in dramatic art. Peace!
thats not how i was taught in film class though
Thank you for this. 😌
love zhang yimou's style
Very happy to find this channel, good to see other creators focusing on quality over quantity for content around cinematography. Major props IDC!
Puedo hacer una versión en español de sus videos realmente falta esta clase de videos en el público latinoamericano:D
Does the director give entire script to DP or just shot list?
Christopher Doyle is that guy
4:14 which movie is that?
Just out of curiosity, what is the accent of the VO speaker of this video I can't figure it out exactly..? Thanks.
Has there anyone who has done both directing and Dop work by himself? Rather chosing someother Dop?
There are definitely some examples of that. Steven Soderbergh is known for both shooting and directing some of his films (he used an alias in the credits).
Phantom Thread is also an interesting film, which I plan on analysing soon, as they made it without crediting a DOP - instead collaborating on the visuals between Anderson, the camera operator and the gaffer.
Alfonso cuaron for Roma (2018) and received academy awards for both direction and cinematography. 😘❤️
@@InDepthCine that's so cool looking forward to that analysis
Robert Rodriguez
@@InDepthCine thank you for answer
What movie is at 1:14???
Awesome video
This is a great video.
Really good video.
Could you cover Chayse Irvin?
Will do. I like his commercial work, good suggestion.
@@InDepthCine I know he is fairly similar to Rina Yang. It could be an interesting angle to study what direction cinematography is taking for the upcoming generations. Like you mentioned, towards the realistic, unpolished and dark looks
I love this video. It was so useful. Thanks a lot. But if you put the name of the films on screen it would be awesome
could someone tell me the movies name at 2:58 please
Hugo I'm pretty sure
@@franjes9999 Thanks man
Useful.Thanks
Dop must also own 100% what he's shooting IMO. He's the director's right-hand man. Especially in cases of lasting partnerships, I'm sure this shines through. I'd imagine him as a safety net cause once all that equipment is stored and everyone goes home, it takes a shitload of money to correct. On top of this, how cool would it be for a DP to spot 2 or 3 little details that elevate his picture even more. Makes the editors work easier, the directors, the studios, everyones.
thank you
Thank you.