Cool, this was very interesting but I just realized that two of the cinematographers didn’t even speak cause the purple guy kept interrupting and speaking for himself… almost thought he was the interviewer haha
I think preproduction is key here!, then the culture will normally inform most decisions on set. By the time you get to the shoot you and the director already have respect for each other and decisions are delegated much easier. Untimely I shoot projects for the director I'm choosing to work with, always suggesting without double guessing, As a DP in reality I'm not the one sitting on the editing. The studio can influence the film choose to play safe with extra coverage but that depends on the director they're working with and who is going to have the final cut.
I find it incredibly sad how these type of interviews confirm what so many other crew members keep saying about working in the industry. The chances of becoming a director are so slim and yet all you hear is how many of the working ones are incompetent of doing their job. A director that doesn't understand different focal lengths? That shoot coverage so that the editor can makes sense of the scene in post? Excuse me? It's no wonder the crew has work 14+ hours days when the project is directed by someone who doesn't understand their job. And to add salt to the wound you end up with a shitty film too. Bloody hell...
I´ve also heard stories where a "new director" have to tell a DoP that you cannot shoot action in 60 FPS and slow down in post. The Shutterangle will not be the same ;) And with colorist it is the same. If you don´t watch A-List Hollywood Blockbuster movies the color grading sometimes is terrible. But those people are still in the Industry. Not because they are the best. It is because they got somehow lucky.
@@allenpayne9182 A lot of this shit just seems to be a crap shoot and hope to the gods someone gives you a chance with a pinch of nepotism. It may sometimes make an independent filmmaker wonder what is the point?
"I've never had a director specify the size of lens". I find this so odd and baffling. If you're using traditional primes... there's what? ...like... 5 focal lengths that shoot 99% of everything? Imaging having control of multi-million dollar production and then not knowing what 25, 35, 50, and 85 correspond to. That's like a CEO not knowing what money is.
Also, lol... if all directors do is ask the dp/crew "what do you think we should do?" then they are by definition not directing. They essentially just won a lottery to take credit for a movie that they had no ability/vision to make. How TF do such incompetent people get hired to make movie in the first place? smh
Cool, this was very interesting but I just realized that two of the cinematographers didn’t even speak cause the purple guy kept interrupting and speaking for himself… almost thought he was the interviewer haha
Cinematographers spilling tea hits right.
I think preproduction is key here!, then the culture will normally inform most decisions on set. By the time you get to the shoot you and the director already have respect for each other and decisions are delegated much easier. Untimely I shoot projects for the director I'm choosing to work with, always suggesting without double guessing, As a DP in reality I'm not the one sitting on the editing. The studio can influence the film choose to play safe with extra coverage but that depends on the director they're working with and who is going to have the final cut.
Cooke Optics TV, your channel is great. Please do some longer form roundtables/videos, also. Thanks.
At 07.45 I was interested in what the lady was saying until she was just rudely talked over....
The gentleman to the left of the purple guy never said a word.
Interesting to hear their perspective - super impactful on the "how did it end up like that?" That's gotta be frustrating.
Yes, that really struck me in the same way.
Keep em coming!
I find it incredibly sad how these type of interviews confirm what so many other crew members keep saying about working in the industry.
The chances of becoming a director are so slim and yet all you hear is how many of the working ones are incompetent of doing their job.
A director that doesn't understand different focal lengths? That shoot coverage so that the editor can makes sense of the scene in post?
Excuse me?
It's no wonder the crew has work 14+ hours days when the project is directed by someone who doesn't understand their job.
And to add salt to the wound you end up with a shitty film too. Bloody hell...
I´ve also heard stories where a "new director" have to tell a DoP that you cannot shoot action in 60 FPS and slow down in post. The Shutterangle will not be the same ;) And with colorist it is the same. If you don´t watch A-List Hollywood Blockbuster movies the color grading sometimes is terrible. But those people are still in the Industry. Not because they are the best. It is because they got somehow lucky.
@@allenpayne9182 A lot of this shit just seems to be a crap shoot and hope to the gods someone gives you a chance with a pinch of nepotism. It may sometimes make an independent filmmaker wonder what is the point?
Where can I watch the whole roundtable?
Ben Smithard is rather rude to the other cinematographers here. Talking over and interrupting them. E.g. at 2:56
Whose idea was it to put a hip-hop intro to a video where you’re interviewing some of the most prestigious cinematographers on the planet?
How can i reach through the email of these respected cinematographers?
You can’t
"I've never had a director specify the size of lens". I find this so odd and baffling. If you're using traditional primes... there's what? ...like... 5 focal lengths that shoot 99% of everything? Imaging having control of multi-million dollar production and then not knowing what 25, 35, 50, and 85 correspond to. That's like a CEO not knowing what money is.
Also, lol... if all directors do is ask the dp/crew "what do you think we should do?" then they are by definition not directing. They essentially just won a lottery to take credit for a movie that they had no ability/vision to make. How TF do such incompetent people get hired to make movie in the first place? smh
Maybe try not to literally shoot your cinematographer and Director