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A film is usually a collaborative process.
It embraces lots of different languages and it’s hard for just someone to manage all of them in a deep and creative way. At least at the beginning.
Focus on one aspect and master it. Maybe it’s writing what you really like? Maybe it’s cinematography? Maybe it’s the recreation of a world (art department)?
It‘s true a director needs to know a bit of everything but still most of them just focus on one aspect mainly and delegate the rest to their teams.
If you focus on one aspect you will find the resources you need to develop your craft, as specific courses, specific books, specific advice by professionals even specific competitions and awards. The 1-man do it all doesn’t exist on a professional level.
Also, this is a forum on Roger Deakins website so most people here would have a clear tendency on focus their creativity to the creation of moving images.
You are trying to build the house from the roof.
First and foremost you need a story.
No story, no movie.
It will be the story that answers all of your questions: how many actors? How many Sets? How big of a Crew? Which Camera? What Grip needed?
What you need to prioritize?
The story.October 20, 2022 at 4:15 pm in reply to: Changing the Cinematographer’s Exposure Values in Post #170191I think you have to put this question into perspective.
All productions are not the same and we are all at different stages in our working lives.
The workflow is not the same with a famous DP who worked on a big production with a famous colorist who is also on set than a small DP who has no connection with grading process and no one is gonna bother asking anything on post production.
So in my opinion to answer your question, it depends.
In a perfect world all DPs should know how to shoot on camera for a final look and all colorists should know how interpret DPs and directors ideas to convey the message of the story with their grading.
Personally I’m far of being a DP on big productions so I encounter this same issue you mention more often than not. To make sure production follows what I think is the look the story needs I do heavy camera reports where I specify all details about exposure, WB, power windows and as much details as I can as I rarely know who the colorist will be. But the reality I face more often than not is no one reads or listens what I have to say. Name it budget-time constrictions, colorists having no idea what they doing or my thoughts being discarded because they are bad.
At my stage I rarely have any control of what I shoot once I left the set. Only on passion projects I can contribute and dialogue keeps going back and forth. It’s a shame that’s like that but this is what I’ve encountered at my level.
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