Cinematography

Not a peeve, just a suggestion… develop a good understanding of aspect ratios and lens selection. Both have a physical and emotional impact on the overall picture. When you can discuss story and how the cinematographer’s tools will enhance your vision, you’ll be in great shape.

Michael Fitzer Yup. I'm taking care of all of that now in reading and YouTube videos. Can't wait to put it all to good use.

She's amazing. Love her stuff. I wasn't a fan of "Elvis" except for the cinematography. That was brilliant.

What an accomplishment!!!

From mini DV to the iPhone. I remember in 2011 when Shane Hurlbut shot parts of Act of Valor on the Canon 5D MKII. The tools we have at our disposal are amazing. It's a great time to experiment as a filmmaker.

Shane is a legend, Michael Fitzer, no doubt.

I took a week-long workshop with him several years ago. Amazing stuff. I still use several of the methods we covered.

Well, I confess I am a Jodie Comer fan. So I get into every movie she makes. And 28h is not an exception. As much as I've read about it and how Danny Boyle led the team with 20 phones, it's truly outstanding. I believe it will be even more realistic, and from what I heard Jodie Comer speak about, they made it real for the actors and the scare, panic, fear, and survival, shooting with iPhones, which seemed like real life. I'm excited to see it soon, even though I'm not a zombie fan. :)

Park Chan-wook shot a film on an iphone 4 in 2010. It's not about tech getting better but rather filmmakers embracing creative opportunities. The problem is tech companies constantly sell resolution, sensor size, dynamic range, etc as a token of quality. "Make your film more cinematic and professional". It's a load of crap. Story should never rely on tech. As I always tell people, focus on telling a good story. No audience will care what it was shot on.

Oh, I 100% use a meter, despite all of the digital tools. I also still use gray cards and pocket swatches for color balance. I love having false colors and histograms on the monitor, but they serve no purpose when in the middle of the fray on set when I'm looking at how a light source is interacting with the location or talent.

Love it!

@Asheley Renée Smith Very Nice, Thanks !

Two mentions of RED. Ugh. I love my RED Epic Dragon!

I hear you as well. Been at it awhile, too. After getting burned too many times, it's more clear cut now.

Life is choices.

Michael Fitzer, that shift in mindset you described is powerful: recognizing that uncompensated work, especially in development, isn’t about undervaluing yourself, but about investing in the creative process and the success of the project.

I think it’s important, like you said, to make a distinction, working for free doesn’t mean working without boundaries. It means being selective, strategic, and clear about why you’re choosing to give your time. Sometimes it’s about relationships, passion for the story, or the long game. Other times, it’s about sharpening your craft or helping build something meaningful with collaborators you believe in.

This kind of discussion is so needed, especially for newer filmmakers navigating where and how to draw the line.

Michael Fitzer - the closest experience I have pertains to editing. I get requests to look at a screenplay or book periodically. But I make the decision to do it for free based on what the person means to me and what has been invested in the friendship. That doesn't always tie in to mutual benefit and that's totally ok to me. It's not always about doing something to get something. I simply ask myself if this is someone who I want to see succeed because of what they personally mean to me. And like Ashley said, it doesn't mean not having boundaries.

I took the ASC Masterclass in September ‘24, and had the privilege of spending several lunch breaks in conversation with Mark Irwin (Scream, Old School, There’s Something About Mary). His advice was simple but powerful: “Say yes to everything.” Especially for those of us transitioning from passionate hobbyists to serious, working DPs — that stuck with me.

Several other cinematographers in the class echoed a similar reality: yes, we sometimes work for free, or for reduced rates. Yes, it sucks. But it’s often part of the path — especially when you're building trust, learning, or helping something meaningful come to life.

As a full-time DP based in North Carolina, I’ve run into this challenge often. The market doesn’t always reflect the 20+ years of experience I bring in design, photography, and storytelling — and even free work can be hard to come by in some circles. It’s tough. Some days it feels defeating.

But I’ve learned to give myself one assignment each day that moves my career forward: send one cold email, follow up with one director, reach out to one new collaborator. It’s not glamorous, but it keeps the momentum alive — and reminds me that I’m still building, still pushing, still saying “yes” to growth.

Would love to hear how others navigate this balance — especially outside the big production hubs.

Great approach Lindsay Thompson. I certainly don't say "yes" to everything, but I say yes to a lot, especially when I believe it will help me advance my craft.

You're not only preaching to the choir - but also to the recently converted!

I'm a screenwriter who has come to the realization that I'll have to shoot my own stories if I want them to see the light of day.

How would (ahem) a writer/director type best communicate the vision for color palette, etc. By describing emotions/intent, then leaving it to the DP & Colorist to work that out?

Mood boards?

By spending money on concept art?

Where does the line between Director/DP/Colorist overlap?

Is there a Venn diagram? ;-)

Mood boards are a great way to start the conversation. I use a free (and paid) program called Milanote to set up visual boards. I also use Canva.

As far as where the DP/Colorist/Director overlap... It's a mixed bag. I'm a DP/Cinematographer but don't call myself a colorist. I color my own projects under protest because frankly, there are a million people out there better at it than I am. That said... I can talk intelligently with a colorist about what I want and how to achieve a look. I set them up for success by knowing what I'm doing on set and how what I do impacts their work later on.

As for the director... I find that some love to get involved with the color timing process where as others just like to go away and leave it to us nerds.

Hope that helps.

It does help. Thank for sharing.

That story about Platoon is wild, but honestly, not surprising. Color can completely alter the emotional tone of a scene, and when it’s not dialed in with intention, it can feel like a completely different film than what was shot.

I really appreciate your point that a DP’s job doesn’t end with the final shot on set, it extends into post, especially with something as integral as color timing. Even a few early conversations between the DP, director, and colorist can make a huge difference in preserving visual intent. Whether you’re creating a stylized look or leaning into something more naturalistic, being involved in the process helps ensure that the image that hits the screen is a true reflection of your vision.

For filmmakers working on a tight budget or without access to a dedicated DIT, the more you can pre-visualize the final grade and communicate that on set, the smoother post becomes. And with so many indie projects being shot on hybrid setups, consistency in color from scene to scene often lives or dies by those early choices.

Michael Fitzer, This is such a clear and helpful breakdown—thank you for laying it out with both technical insight and real-world application. The distinction between F-Stops and T-Stops can definitely trip people up, especially when transitioning from photography to cinematography. Your point about “fix it in post” being more costly than getting it right on set is so important, especially for indie filmmakers who often don’t have the luxury of reshoots or extensive color grading sessions. And I love that you mentioned still using a light meter. That level of intentionality really separates working DPs from people just chasing a cinematic look without understanding how to build it.

I love the attitude— shoot something yourself instead of waiting for permission.

If you connect with a cinematographer, he’ll already have gear he likes.

If you shoot yourself, stay with the IPhone. If it shoots ProRes at 24fps, choose that setting. Main thing is to use good lighting. Not expensive lights, but think about 3-point lighting, diffusion, etc.

A give away for phone footage is the way it moves. Minimize movement by buying a cheap rig or put it on a tripod. Of course remember to shoot landscape (horizontal).

Hey, Mike Boas you're right, because permission is never going come. I've got an amazing story (let's assume that is true for a moment). But who is going to back that film and risk tens of millions of dollars gambling on an unproven talent?

And EVEN IF someone did roll up with stacks of cash, then the story would be out of my hands completely.

Today, the only way that being a screenwriter isn't mental masturbation and self-delusion is that you've got to go forth and create, and somehow rise above the noise and build an audience.

Hey James Fleming This is a fantastic practical question that many emerging writer-directors face! The iPhone 13 vs. dedicated camera decision involves several considerations beyond just image quality.

First, congratulations on taking the actionable step of creating short content to build audience interest in your larger work. This strategic approach has launched countless careers, from Damien Chazelle's "Whiplash" short to Taika Waititi's early work. And having a professional actor committed is a significant advantage that will elevate your production regardless of camera choice.

For your specific situation, here are some thoughts:

The iPhone route offers distinct advantages for your zero-budget found-footage project. The iPhone 13, while not Pro, already captures surprisingly cinematic footage when paired with the right apps (Filmic Pro) and basic accessories (stabilizer, simple lens attachments). For found-footage specifically, the iPhone aesthetic can actually enhance authenticity rather than detract from it. The September upgrade would give you additional capabilities, but might not be necessary for your immediate project.

A dedicated camera ($2-3k range) would likely mean something like a Blackmagic Pocket Cinema Camera 4K or a used Sony A7 III. These provide greater dynamic range, better low-light performance, and more post-production flexibility. However, they also introduce a steeper learning curve, require additional accessories (lenses, memory cards, batteries), and might feel unnecessarily complex for your found-footage concept.

Given your two-phase approach (found-footage project followed by the more polished one-room scene), consider this strategy:

1. Use your current iPhone 13 for the found-footage project - it's perfectly suited for this aesthetic

2. Put the $1300 toward hiring a talented DP with their own camera package for your actor's scene

This approach lets you:

- Start shooting immediately rather than waiting for September

- Hone directing fundamentals without technical distractions

- Apply what you learn to the more ambitious project

- Benefit from a professional's expertise for the higher-stakes scene with your actor

Many working directors never touch the camera themselves, focusing instead on performance and storytelling while collaborating with technical specialists. This might be the most efficient path to creating quality content that showcases your writing and directorial sensibilities.

Thank you so very much for such a generous and in depth response - I've already posted a job listing here for a DB, but so far, no takers. Will see what happens.

When it comes to your camera question, both options have merit depending on your long-term goals. If you’re focused on creating no-budget shorts that mimic a found-footage or documentary style, your iPhone 13 (especially with a solid filmmaking app like FiLMiC Pro and a few accessories like a gimbal or external mic) can absolutely get the job done, especially for a gritty, handheld aesthetic. Upgrading to a newer iPhone will improve things like low light and stabilization, but the leap might not be drastic enough to justify the $1300 if your current phone gets the look you want.

On the flip side, if you’re hoping to build out a small kit that gives you more control over lenses, depth of field, and low-light performance, investing in a “real” camera like a used Blackmagic Pocket Cinema Camera or a Sony a6400 could give you more cinematic flexibility and stay within budget, especially if you’re planning to keep producing short content.

No matter what you choose, what matters most is the story and it sounds like you’ve got a great plan in motion. I’d also recommend checking out the Filmmaking Lounge: https://www.stage32.com/lounge/directing and the Producing Lounge: https://www.stage32.com/lounge/producing for additional feedback on crew hiring and production strategy.