(Part 2) Top products from r/cinematography

Depends on where you live.

1. Get on sets as much as possible. At 19 I had 1700 hours set experience.
   That will allow you to learn how to manage sets, which is a good 70% of what cinematography is. As well, you'll learn tons of tricks and cheats. Plus, the experience you get typically comes with free food and use of equipment you could never afford to buy or rent. To finding sets. I joined an awesome youth studio. (I can link you to it if you're interested) That got me the initial experience. Craigs list is a scary but useful way as well. I met some neat people that way.
   
   
2. Read. There are TONS of glorious bits of information out there. For a starter, try Bruce Block. He breaks down visual structures pretty well.
   http://www.amazon.com/The-Visual-Story-Seeing-Structure/dp/0240804678
   
   
3. Study Film. Find films you like and break down everything. Overheads, shot lists, visual design breakdowns, the whole gamut. You'll learn a lot on what it takes to light and stage. May i recommend THE CONFORMIST. As it is an extreme example of what is possible.
   
   
4. As said elsewhere, Take Pictures. The quality of the camera is not really important as long as it has 8+ stops of dynamic range and manual settings. What is important is lights. Everything you shoot should be lit. Save for those first. Chinese ripoffs of ARRI 650 Watt Lights work well enough. (about $600)
   
   
5. For University, I personally study Film Prod. Though, it's not about the classes. Those are not really that useful. What is Useful is taking those above and beyond and then hitting sets every weekend. That way you'll find what you truly enjoy.
   
   
6. Practice being charismatic. Books are also helpful for this. Try books on Influence, charisma, rationality, etc.
   
   Hopefully that's a good start.

favorites on my shelf:

 

"Masters of Light" by Schaefer and Salvato

A serious wealth of knowledge. Its focused in chapters on individual Dps. really really a great resource.

 

"Film Lighting: Talks with DPs and Gaffers" by Malkiewicz

Pretty good. a bit basic BUT good concepts inside. Good info from good working cinematographers.

 

and i will second /u/peterpeterpeter on "New Cinematographers" by Alex Ballinger. Great new (well, 15 years old now) people working with interesting ideas. Great pictures.


 

I personally really want to read Almendros' book next, as /u/cikmatt suggested.

I haven't really needed to read any of these recently, so there might be better ones out now, but here are some ideas:

Cinematography: Theory and Practice: https://www.amazon.com/Cinematography-Theory-Practice-Cinematographers-Directors/dp/0240812093

ASC Manual: https://store.ascmag.com/product-p/10110.htm (this is more of a reference but I think you can learn a lot if you comb through it with your unlimited time :) )

Motion Picture and Video Lighting: https://store.ascmag.com/product-p/10110.htm

The Camera Assistant's Manual: https://www.amazon.com/Camera-Assistants-Manual-David-Elkins/dp/0240810570/ref=sr_1_3?ie=UTF8&qid=1522612793&sr=8-3&keywords=the+camera+assistant%27s+manual&dpID=51o7uMqwzZL&preST=_SY291_BO1,204,203,200_QL40_&dpSrc=srch
(the stuff in here is important to know when working your way up, but also how to conduct your self on set and the tools of the trade for professionals)

and really anything on Focal Press is great, as far as I've seen. You might also read books about VFX producing (for background when working with FX) and perhaps books on color grading and storyboarding.

And if you are interested in writing, Stephen King's On Writing is great.

Using the viewfinder pressed to your eye, one hand on the grip and one hand on the lens is almost all you need usually. Otherwise, might be time to add more weight. A cage or a gunstock to add a fourth point of contact pushing against your chest will help a lot too. A very cheap and effective option is the classic cowboy studio shoulder rig for 30 bucks. https://www.amazon.ca/CowboyStudio-Shoulder-Support-Camcorder-Camera/dp/B0036NMQ7S/ref=sr_1_1?ie=UTF8&qid=1522194992&sr=8-1&keywords=cowboy+studio+shoulder OR if you have some budget zacuto enforcer is great https://www.bhphotovideo.com/c/product/997525-REG/zacuto_z_der_dslr_enforcer.html and edelkrone has a great compact folding gunstock https://edelkrone.com/products/pocketrig-2

If you want spend for branded quality that is and is rather robust (even though it will be in the office and not traveling with you for diff film sets) go with the aperature branded products

However if you want some good budget lights and can buy some bell and whistle add ons to help with your set up later, go with Neewer 660 LEDs here and their 5 in 1 reflector kit here

Personally I love Neewer as they have a solid product and if you take care of it, as you should for all of your equipment, it will last.

I would recommend reading this book https://www.amazon.com/Camera-Assistants-Manual-David-Elkins/dp/0240818687

Here's how a typical set runs in my world on a digital shoot

A Cam 1st

• dpt head of camera, he/she talks with the dp to insure that they have all the tools necessary for the dp to accomplish their vision.
  
  
• works with the rental house to make sure they have all the necessary tools. Everything from clip ons for HH to Prestons packages.
  
  
• hires all camera crew besides operators. Usually a dp will hire the 1st and A & B ops, any additional operators are usually discussed with the 1st (day players, Steadicam ops, ect.)
  
  On set:
  
  
• pulls focus
  
• mounts lenses
  
• drops in filters
  
• maintains camera settings (though it is not uncommon for 2nds to make the adjustments to WB & iso)
  
• some will format media, some won't touch it. (I personally think they all should because we can all agree that the 1st would lace film when he would receive a fresh mag)
  
• Roll the camera
  
  A Cam 2nd
  
  
• slates the scene
  
• camera reports
  
• marks rehearsals
  
• maintains lenses & filters
  
• in charge of their cart
  
• hands off lenses to 1st
  
• hands off media to 1st
  
• has backups on hand (cables, batteries, media)
  
• takes all the "stupid " questions and delegates work so the 1st can worry about focus.
  
  Loader
  
  
• considered the best boy of camera department
  
• handles all paperwork (timecards, out sheets, data inventory reports, organizes camera reports, keeps all equipment lists from the rental house)
  
• arranges swaps with the rental house
  
• organizes the truck
  
• keep inventory of expendables
  
• keep inventory of media
  
• offloads media to backup drives / shuttle drives
  
• designated off set shit fixer and professional googler
  
  Digital Utility
  
  
• moves video village and dp/ dit cart
  
• maintains wireless video for 1sts and villages
  
• expert cable wrangler
  
• helps move carts and a general helping hand
  
• swaps batteries
  
• works with the loader to keep batts charged.
  
  Camera operator
  
  
• wiggle the stick
  
  Ultimately, it's a camera team and you should all work together to help make everything run smoothly.
  Despite pushing carts through mud and it raining for 6 hours and your cat just died and your girlfriend hasn't texted you back and your DP is strung out and North Korea is launching another nuke. Just remember to smile and that you could be working a desk job somewhere.
  
  TL;DR
  Ops op
  1st pulls
  2nd slates
  Loader loads
  Utility runs village

Lighting an area helps to draw the eye to it, it's a natural response. So, for example, lighting a subject/actor, making them "pop" from the background, will help the viewer's eye focus on that piece of visual space.

In opposition, using shallow depth of field to blur the background will make those details inconsequential.

Empty spaces can also help other regions of the frame became more pronounced. If your shot is mostly dark, for example, except for one area lit by low-key lighting (.e., in a noir film), then the eye will be drawn to that lit area versus the dark one.

There are several YouTube videos where DOPs will walk through how and why they lit a scene, which can be informative.

Composition rules such as rule of thirds are effective because it lends itself to what the human eye naturally finds to be pleasing in a shot. A lot of it has to do with how the shot is balanced, as a decision in aesthetics. Just remember that the visual space is where you can compose semiotics -- signs and meaning making.

I think a book in composition, such as http://www.amazon.co.uk/Understanding-Composition-Expanded-Guides-Taylor/dp/178145051X/ref=sr_1_2?ie=UTF8&qid=1419099021&sr=8-2&keywords=understanding+composition, that shows how visual elements can work together, would be informative for you.

You can do it with a hand dimmer.

Get a 650w dimmer, wire it in line with the socket. Done.

You can also get a “Magic Gadget” flicker box. Most rental houses have them.

Something like these https://www.amazon.com/Dimmable-Halogen-Candelabra-Chandeliers-Lighting/dp/B07RZQ5W71

Get a candelabra socket, some zip cord and go to town.

Hand dinners are available at most home improvement stores.

PSA don’t touch the glass part, especially when lit. Might be hot ish.

Thanks for being so elaborate reply! Really appreciate the effort of putting the links up to everything.

Yeah the GH4 has been the camera that I had been leaning towards although I still haven't made up my mind totally, you seem to be pretty happy with it? Any draws backs you have found?
I was also looking at Sony a7s have you had any experience with this camera? I hear there are limited lens options for it, but I guess you can always get a converter?

I'd actually been looking at that tripod for a while but was worrying that even though it looks it, it might not be heavy duty enough, cheers for the assurance!

Do you have any advice regarding sliders and LED kits?

And also have you used a cowboy before? I was running on a shoot the other day and the op had one and he really rated it. http://www.amazon.co.uk/CowboyStudio-Shoulder-Support-Camcorder-Camera/dp/B0036NMQ7S

Off the top of my head, a few books/resources that I found helpful/inspiring:

• Cinematography (Screencraft Series)
  
  
• FilmCraft: Cinematography
  
  
• A Man With a Camera (already recommended it to a different person on this subreddit)
  
  
• The Visual Story: Creating the Visual Structure of Film, TV and Digital Media (not strictly about cinematography, but great resource for learning visual "rules", in order to know how to break them later)
  
  
• David Mamet: On Directing Film (yes it's about directing, but Mamet also focuses on what's important about the story and how to tell it.)
  
  
• American Cinematographer subscription
  
  
  Also, watch (a lot of) films multiple times, pay attention how stories are told visually, analyze them and figure out what works and what doesn't work (for you).

This one is a great little read, very informative without being patronising. Goes into some of the more advanced information as opposed to beginner knowledge. http://www.amazon.co.uk/Understanding-Composition-Expanded-Guides-Taylor/dp/178145051X/ref=sr_1_2?ie=UTF8&qid=1419099021&sr=8-2&keywords=understanding+composition

Thank you for the suggestion! BTW, what do you mean by manipulation? Is that like the complexity? Like number of lights, unusual lenses (e.g. tilt shifts), filters etc.? Or is it a specific terminology.

I've just been making my way through the content from Aputure, Cooke Optics, Rocket Jump, Every Frame a Painting, on YouTube. In terms of books I've been reading this, this, this and this, and look forward to reading this and this.

Do you think there are any key books I am missing? I saw this book which might be more applicable to where I will likely find myself after I finish my course.

Actually...this just occurred to me. Since you're making films you might want to look into a metabones speed booster (http://www.metabones.com/products/details/mb_spef-m43-bm1). It increases the max aperture by a stop and decreases field of view by 0.73x. This makes the crop factor of the camera effectively 1.4x and then you can use canon lenses or with this (http://www.amazon.com/gp/aw/d/B001G4QXLE/ref=mp_s_a_1_1?qid=1451232714&sr=8-1&pi=SY200_QL40&keywords=nikon+to+canon+lens+adapter&dpPl=1&dpID=41kEDBwEXKL&ref=plSrch) adapter you can convert older Nikon lenses to work as well. It's a bit expensive but I think for a camera with this size sensor a worthwhile investment.

Definitely a great start

These aren't tubes but are one the most used pieces of lighting equipment in our production bag:

The Yongnuo Light Saber:

https://www.amazon.com/YONGNUO-YN360-Adjustable-Temperature-3200K-5500K/dp/B01D2X4A8Y/ref=sr_1_5?keywords=yongnuo+light&qid=1564150579&s=gateway&sr=8-5

This sexy handheld mofo can dial in daylight, tungsten, RGB and everything in between. Its cheap and adds such a vibe. Once again not tubes but could be used in a similar fashion. Highly recommend.

These don't look too bad for LEDs. https://www.amazon.com/Neewer-Pieces-Bi-color-Video-Light/dp/B06XW3B81V/ref=sr_1_9?keywords=neewer+led+lights&qid=1574087935&sr=8-9

Or this, https://www.amazon.com/Neewer-Reflector-Continuous-Recording-Photography/dp/B07PBG17PG/ref=sr_1_13?keywords=neewer+led+lights&qid=1574088078&sr=8-13 (But you will probably need a scrim to defuse light with that)

Maybe start by reading the classics ?

https://www.amazon.com/1984-Signet-Classics-George-Orwell/dp/0451524934/

https://www.amazon.com/Fahrenheit-451-Ray-Bradbury/dp/1451673310/


https://www.amazon.com/Brave-New-World-Revisited/dp/0060535261/

The last on the list (and the most important one ! ) is also being developed to series:

https://www.denofgeek.com/us/tv/brave-new-world/279249/brave-new-world-tv-series-usa-network

For movies themselves, this ones are one of the more obvious choices :

https://www.amazon.com/Children-Men-Blu-ray-Clive-Owen/dp/B001YV502C/

https://www.amazon.com/Gattaca-Blu-ray-Ethan-Hawke/dp/B00E3PP9MM/

https://www.amazon.com/Blade-Runner-DBFE-BD-Blu-ray/dp/B07CNC399C/


https://www.amazon.com/Complete-Metropolis-Blu-ray-Brigitte-Helm/dp/B0040QYROK/

In the book, New Cinematographers, Lance Acord gives good detail about how the shoot went and some of the challenges were.

Sign into Amazon and click Look Inside. You have to search inside for "Lost in Translation" for it to show up. It's on page 30.
http://amzn.com/1856693341

https://www.amazon.com/YONGNUO-YN360-Adjustable-Temperature-3200K-5500K/dp/B01D2X4A8Y/ref=sr_1_1?ie=UTF8&qid=1484091115&sr=8-1&keywords=yongnuo+ice+light

and

https://www.amazon.com/Aputure-AL-M9-Amaran-Light-Camera/dp/B01ITRLJIW/ref=sr_1_1?ie=UTF8&qid=1484091130&sr=8-1&keywords=aputure+m9


you will never out grow these lights.

I learned from Reflections and
The Grip Book.

Man With a Camera by Nestor Almendros.

This: http://www.amazon.com/Professional-Cameramans-Handbook-Fourth-Edition/dp/024080080X

It's got everything.

No get this one. I have one, it works just fine.

What exactly do you mean by "local 600 manual"? Longtime 600 member here and I've never heard of such a thing. There is a member directory, the constitution & bylaws, and a membership booklet - none of which tell you anything about how to actually do the job of an AC.

I agree with the usefulness of Hart's and Elkins' books, but I've far more often heard "The Professional Cameraman's Handbook" by Sylvia and Verne Carlson referred to as "the bible" - although it's now sadly out of date as far as specific camera models are concerned.