Post Secondary Education Required for Director of Photography
Career Overview
The Manager of Photography or DP works with a Managing director to execute their vision for the script. They are in charge of both Camera and Lighting Departments, creating the visuals that help tell the story.
Alternating Titles
Cinematographer, DP, DOP
How To Become a Director of Photography
A Director of Photography (or Cinematographer) is responsible for crafting the visual linguistic communication of a film through lighting, camera angles, camera motion, camera framing, and lens choices.
Working with the Director, they create the look and style of the motion-picture show. In this role, the Director of Photography leads the Camera and Lighting Departments, which operate under their purview. Because of these responsibilities, a DP must empathise both the artistic and technical sensibilities that get into filming a movie, TV show, or other type of content.
The DP's task begins prior to principal photography. During pre-production, they'll discuss the Director's vision for the film, assistance in the creation of storyboards and shot lists for production, and begin making their camera and other equipment selections.
One time primary photography is completed, the DP may still be looked to for education and guidance as the film is cut together and color correction is applied to information technology.
To learn about what it takes to become a Director of Photography, we spoke to the following DPs:
- Paul Hughen (WandaVision, Avengers: Infinity War, Avengers: Endgame)
- Polly Morgan (A Serenity Place Role II, Legion, American Horror Story)
- Chris Seager (Carnival Row, Watchmen, Six Minutes to Midnight)
What is the part of the Director of Photography?
Paul Hughen (WandaVision, Avengers: Infinity State of war, Avengers: Endgame)
The Director of Photography is very instrumental in helping the Film Director institute the look of the moving picture. During the prep period (before filming) the Director and DP sit and talk over the best approach for the "look" of the movie, the commercial, or television program they are nigh to start.
Sometimes it might be that they decide they desire their project to await like Blade Runner. They would view the motion picture together and discuss the aesthetic approach to shooting a project similar in texture and feel. They too might look at photographs in books to discuss a look that both of them appreciate and relate to. That style they are both on the same page when it comes to technique and style.
While the Director works with the Actors, the Director of Photography during shooting works with the coiffure to place camera, lights, and anything else that helps the photography. Sometimes on a small projection, there might be 20 coiffure members that the DP gets to piece of work and communicate with. On Infinity State of war and Endgame I was working with 250-400 crew members in several unlike departments on a daily basis.
The DP sets the shots with the Manager and the Camera Operator. He and so lights the set and sits with the Manager to discuss how things are perfect or how they tin can brand shots or set-ups improve. During mail service-production, later on filming is complete, at some indicate the DP will usually arrive at a postal service house to do a Digital Intermediate or DI.
That is the coloring and finalizing of the bear witness. Whether it is a commercial, TV bear witness, or a feature the Cameraman sets the look of the film and he volition follow through with the timing (DI) of the project before release. This can take several days or several weeks depending on the size of the projection.
Polly Morgan (A Placidity Place Office 2, Legion, American Horror Story)
The Director of Photography'southward job is to assistance express the story in visual terms. Everything comes dorsum to story. The story and script inform the visual language: what genre are you working in? Is information technology a romantic one-act, is it a genre horror flick, is it a drama? Nosotros can all imagine how those types of films look.
With a very visual Director, you can but set up the camera and be told what lenses to use. Conversely, you lot tin be working with a Managing director who has come from a theatre or writing groundwork and you have to pb the manner in terms of the visuals for the production. It can fall at either end of the spectrum or anywhere in the eye. When they don't [have a articulate thought of visuals], it's a team exploration to observe the wait and experience that helps the viewer sympathise the story in the most effective visual style.
In the early on days, you spend time agreement the story, the arc of the characters and what the Manager is trying to say. Nosotros accept a lot of conversations about story, theme, characters. We try and get into the Director's head to become a experience for what it is they want the audience to feel.
Once you've had all those conversations, you commencement to look at visual references together–are there whatsoever films that have a similar feel or are there artists and Photographers that invoke something that might be relevant to the story we're telling?
After that, information technology's about lighting and camera motility–what motion is virtually relevant to the production? Is information technology handheld or practise we demand more graceful, sweeping moves that might utilize a crane? Still, the conversation is grounded in how best to tell the story in visual terms.
[Next] it'due south crewing up, getting equipment together and figuring out what you're going to need to pull off the look y'all've chosen. If you're working on a big studio motion picture, your department heads (Gaffers, Key Grips) might come in a month or more prior to camera roll.
Nowadays, because there are and then many visual effects, we take something called "pre-visualization" where the visual effects company will really piece of work with the Director and Cinematographer to practice a rough CG build of sure scenes. Films similar Gravity use this a lot and then they tin run into what the camera angles will exist, where the globe will be, where the light is coming from, those types of things.
If you're working on an independent moving picture, it's a lot smaller and there's a lot less coin–department heads volition probably just join for the tech scout and you won't get much prep time with them. Maxim that, with smaller budget films, I get behind the photographic camera more which I admittedly love!
Working in production is tiring and at that place's a lot of pressure involved, so you really demand to get on well with the people y'all're working with. I make sure we're on the same folio because information technology'south like going into boxing together — y'all need to exist there to back up each other and collaborate.
You lot do rely a lot on the people around you to aid run across the deadlines. It's of import to respect people at work and give them the space to practise their job.
When I choose a project, I'm not only choosing a story that speaks to me, I'm choosing the person I'1000 going to exist working with. There has to be a connection.
Chris Seager (Carnival Row, Watchmen, Vi Minutes to Midnight)
A simple explanation is that the Director of Photography's main function is to visualize and enable the words and thoughts of the Director and of his script. Information technology is in reality, much more complex than that. The Director of Photography in conjunction with his Director can contribute to the "look" of the motion picture past offering his own visual input of the script.
The DP [Director of Photography] will work closely in collaboration with the Production Designer and other HoDs [Heads of Departments], similar Costume, Hair/Make Up Designers, Visual Effects, and Stunts to proper name a few.
The DP will also accept the responsibility along with their input of his own Camera, Grip, and Electric teams. These guys will help enable the views/aspirations of the DP and his artistic interpretations on the "set" by setting and operating cameras, cranes, dollies, and lights.
The salary range for a Director of Photography working on a studio feature can autumn anywhere between $5,000 and $thirty,000 a week.
However, Directors of Photography who work on studio-backed films in a given year comprise a fraction of total working DPs across all mediums. Every bit such, the boilerplate annual salary for a DP is effectually $65,000.
The daily rate of pay for Directors of Photography varies profoundly because of several factors, including the type of production, experience of the DP, and whether or non that DP is function of a spousal relationship such equally the International Cinematographers Guild, or IATSE Local 600, which will plant a base rate for its members.
Many emerging DPs may work for a nominal fee at the beginning of their careers. Especially if they showtime out in student or brusk films, their daily charge per unit might be every bit low as a few hundred dollars. If they are trying to build their torso of work, they might even work for free.
DPs who are a bit more established, such as those who shoot commercials or music videos, may earn a daily rate of up to $1,500. In one case a DP comes on lath higher-profile projects like a TV prove or a feature moving-picture show, they can then earn higher daily rates. For such professionals, a daily rate of $3,500 or more is non unusual.
How does a Managing director of Photography get paid?
Polly Morgan (A Quiet Place Office Ii, Legion, American Horror Story)
If you're on a commercial or music video or curt, you are paid per solar day.
On Television set and movies, you get paid on a weekly basis. Bear in mind, you lot practice get paid a piffling less for prep than you lot do on shoot.
[At that place used to be a "quote system" in identify where a Director of Photography would wait to earn the same or more than their previous production.] The quote arrangement has practically disappeared and then you only negotiate your quote on a per-production basis–it's dependent on whether information technology'due south a studio or indie projection.
While most people await to the Managing director as the most important person on a flick or other type of entertainment, the truth is that a slap-up DP can have equally much influence on that piece of content.
For this reason, those seeking to become a Director of Photography tin can achieve incredible levels of career success. That being said, to proceeds that success, they must understand how to primary the moving image, which takes both technical and creative expertise.
To proceeds that comprehensive understanding of both how an image is formed and how information technology can attain a desired emotional impact, many aspiring DPs begin their careers with some type of formal training such every bit movie school or photography school.
While information technology may have several years for them to become practiced, ultimately it can be to an emerging DP's benefit, as they can more quickly establish a daily charge per unit for themselves on account of their education. Given that a formal education too affords emerging DPs the gamble to work on a number of pupil films, this as well tin help them hit the basis running afterward graduation.
From there, it's frequently a matter of continuing to both nurture their professional relationships and develop their skills that volition help young DPs build on their foundation of success and be asked to shoot bigger and more than complex productions.
With these higher-profile projects, DPs will invariably be paid more as well. Depending on the career aspirations of a DP, some volition go on to shoot acclaimed films or Telly shows or even transition into the Director's role.
As with virtually every other specialty in the entertainment field, the success of a DP relies on a combination of their work ethic, ability to grade and maintain professional connections, and the mastering of multiple skillsets.
What is the lifestyle of a Director of Photography like?
Polly Morgan (A Quiet Place Part II, Legion, American Horror Story)
I travel all around the world and shoot in all kinds of places. If you lot want to do this job, be prepared to be nomadic because product happens everywhere.
Once y'all start having a family, information technology can become extremely complicated, and so yous take to be able to scroll with the punches and exist a bit of an adventurer. Things are never actually going to be settled–it moves quickly and you don't know what's around the adjacent corner. Really, it's most relinquishing control. [Considering this role is cocky-employed, there's no ill pay, no maternity leave and often no health insurance provided.]
Self-care is important. The life can get intense with lack of sleep and long hours. It'southward important to take care of yourself; at the end of the mean solar day, it'due south just work and you take to be able to step outside of information technology and take some life of your own. It can exist extensive.
Sometimes y'all'll work a lot and and then you might not work for six months then you take to manage your coin and non spend it all at once. Information technology'southward not a settled lifestyle, so think almost that.
Understanding how dissimilar types of cameras piece of work and how to construct lighting schemes are skills that tin can be learned on the job, but in many cases, aspiring DPs will go to school to do then. As a consequence, a off-white number of DPs begin their career paths with a formal education.
While college or a technical programme can afford aspiring DPs the chance to shoot pocket-sized projects, one time they graduate, they likely will start work as Photographic camera Operators or 1st ACs as they continue to gain the expertise necessary to become DPs on bigger projects.
If an aspiring DP decides to forego the college experience, they may then begin their career paths as Interns or Production Assistants to proceeds the rudimentary knowledge necessary to understanding how filmmaking works.
With enough feel, emerging DPs tin can eventually take on smaller gigs that will help them build their resume of work. Because experience is and then vital to the growing and continued success of a DP, it's important to take on a variety of jobs that tin expose them to dissimilar types of projects and genres that will help to develop and hone their skills.
Along with being open to gigs that tin can deepen their expertise, DPs must always be nurturing their professional relationships, equally it's often the Directors, Producers, and Gaffers they work with on a projection who are likely to be the people recommending them for the next one.
How practise you become a Director of Photography?
Polly Morgan (A Serenity Place Office Two, Legion, American Horror Story)
As I started working, my experience with fine art history and photography drove me towards the cosmos of the images for film–that's what spoke to me. I started right at the very lesser as a Production Assistant, so I moved to the Camera Department as a Photographic camera Trainee, then a Second Assistant Photographic camera.
All the while, I was shooting short films on 16mm film. And so a Cinematographer I was working with suggested I get to film school. And I did–I enrolled at AFI in Los Angeles.
What I beloved about today'south world is the growing diversity in the movie business organisation and people come from all walks of life. I know people who have worked their way up through the Photographic camera Department, I know others who started in the Lighting Department so moved into cinematography–it's really about making sure you're a visual person with an eye. To a higher place all, it's about your attention to story. It doesn't matter where you come from.
My goal is to keep moving forward and tell expert stories. I've been lucky recently, starting to shoot bigger budget, studio films with very visual Directors. That allows me to pull together really arresting, heady images rather than working on more than graphic symbol-driven films. I hope to continue forth this path of finding an expressive aesthetic.
[Equally you lot're starting a career,] there is enough of good, non-union work and you can build up your feel that fashion.
Don't rush to get an Amanuensis. Yous'll finish upward giving away 10% of your money and, at the showtime, you probably won't have enough credits for them to push button you. Take your time!
How many years does information technology have to become a Managing director of Photography?
Paul Hughen (WandaVision, Avengers: Infinity War, Avengers: Endgame)
I've met Cinematographers who started shooting right out of higher/picture schoolhouse. I chose to motion upwards the ranks by starting on the set equally a Loader. And then I became a 2nd Banana Cameraman. And so a First and so an Operator. (You can wait these titles up on Wikipedia to encounter what each position does.)
It took 15 years to move through the ranks to Director of Photography but I was getting paid to develop my craft and seek out the direction I wanted to get. That'southward a long time only if I could go back I would not change the way I moved up to Director of Photography between 1980 and 1994.
I've met many friends that right after film schoolhouse started shooting brusque films or low-budget features or even commercials. There are many routes to becoming a DP merely you have to choose what works best for you. Yous can purchase a business concern card that says DP on information technology. Do that when you know the craft.
Chris Seager (Carnival Row, Watchmen, Six Minutes to Midnight)
How long is a piece of cord? There is no definitive reply to that question. It can depend on so many things. Skill obviously comes to the fore, having an artistic eye, or mayhap merely luck, or being in the right identify at the correct time. Determination is probably the cardinal.
Looking, learning, asking questions, experimenting, making short films, making more brusk films, watching and analyzing movies and TV shows. Working your manner up through the Camera Department is obviously the main way to condign a DP.
I've seen 2nd ACs decide that they want to make that leap from 2nd Ac to DP. Information technology's a big jump and invariably it takes some time, some fail and some make it, but it must be very satisfying to have made that jump and then succeed. It'south normally because they are determined and have talent. One thing to recall, becoming a DP or having been a DP for some time–y'all never cease learning. That is one of the joys of this job.
Polly Morgan (A Tranquillity Place Part Two, Legion, American Horror Story)
Remember, information technology's a marathon, not a dart. Take information technology slowly. If you take a job that's too big for you lot besides early, information technology'southward easy to fall at the first hurdle. It'southward neat to be ambitious, but I think someone telling me when I was a twenty-one-year-old PA that it would take me ten years to become a DP.
I was absolutely horrified… only then I shot my showtime feature at thirty-one! They were spot on! It takes time to learn your vox and your artful sensibilities. Bluntly, I'm yet learning, every day I go to set.
To varying degrees, many specialties in product involve a combination of technical and artistic skillsets, and that of a Director of Photography is no different.
As mentioned, a DP must empathise the technical aspects of the equipment they utilise to capture a moving image. That means how the camera and lighting equipment work separately and together to produce the intended epitome in every shot. While a DP works in an industry with moving images, ofttimes they can gain a strong foundation of noesis by agreement still photography.
Outside of these technical skills, DPs must too understand how to create an emotional tone to each projection they work on. On some productions, a Managing director might want the imagery to capture very realistically what is beingness shot. On other projects, the Manager might exist inclined toward creating visuals with a more stylized wait intended to draw the attention of the audience. Information technology'south upwardly to the DP to carry out the instructions of the Director past understanding their creative vision and knowing how their equipment tin can achieve it through technical means.
A DP must also know how to manage others. Though larger productions volition provide support to a Director of Photography then that they tin can concentrate more than thoroughly on the task at mitt, a DP must withal run the Camera and Lighting Departments, which means agreement how to communicate with the crew and making sure they're able to bear out their responsibilities to reach each desired shot.
All these skillsets–technical knowhow, creative vision, crew management–can only really be adult with time and experience. That is why it is so important for DPs to have on all the opportunities that they reasonably can handle to gain that expertise and deepen mastery of their specialty.
What skills do you need to exist a Managing director of Photography?
Paul Hughen (WandaVision, Avengers: Infinity War, Avengers: Endgame)
A DP needs to understand camera placement and lighting. He or she needs to have good people skills to work with quite a few crew members.
I advise anyone who wants to go a Cinematographer to effort to nourish film school to acquire the craft of the DP. Film school classes are taught on lighting, camera and shooting.
A DP needs to learn how to light Actors in a scene. This takes time as the arts and crafts is not easily learned. Every Cameraman works differently and most do not have a common mode. Some like handheld work. Some like a more than stable dolly to shoot from. Everyone is unlike.
Chris Seager (Funfair Row, Watchmen, Six Minutes to Midnight)
The skills needed are numerous but put but they are as follows but not in social club of importance:
Sense of humor, resilience, ability to find quick and artistic solutions, understanding other manufacture roles, patience, leadership, calmness, verbal advice as well as visual communication, collaboration, compassion, teamwork, enthusiasm.
Polly Morgan (A Serenity Identify Role II, Legion, American Horror Story)
It's your unique eye and vocalisation that will make you stand out, so accept time to practice the things that nourish you lot as a person–travel, ingest art and accept a solid sense of who you are and what you lot want to say. Life experience informs your fine art.
I worked a lot for costless, doing brusque films and taking any job I enjoyed. I don't think anyone should feel that is beneath them–information technology's a technical job and there's a lot to learn. It'southward better to do it when you're non spending a lot of other people's money.
How can I be a good Managing director of Photography?
Chris Seager (Carnival Row, Watchmen, Six Minutes to Midnight)
If you sit a model at a table and frame up a shot with a locked off camera and inquire 4 superlative DPs to individually romantically light the discipline you will undoubtedly get 4 different interpretations of romantic lighting. They are all "good" DPs and you could argue for some time to say who is the best.
Becoming a good DP is I think a combination of some of the following:
Listen and sympathize what the Director wants to practice with the script. Meet emotionally where the script is going and how with your input with camera fashion and lighting mood y'all can influence and enhance and exist at ane with the script. You are an important member of the team and have a lot of influence, but remember to interact with your beau HoDs and your team, information technology will pay dividends for certain.
Polly Morgan (A Quiet Place Part Ii, Legion, American Horror Story)
We demand to exist very malleable depending on the types of personalities surrounding us. You're ever working with unlike types of people, and then when yous start on a new project, it'due south a process of getting to know everyone–how they tick, how they operate–and y'all become very close with them during production.
In the old days, some people could get away with behaving disrespectfully on gear up (and we all the same come across a bit of that), simply these days, we want to work with people who are like shooting fish in a barrel and collaborative.
I would say, spend time on fix to empathise the intense conditions, drib the attitude, know your function on the team and understand that anyone can have a good idea. Even a PA tin have excellent input if you stay open up. There's merely no room for ego these days.
Paul Hughen (WandaVision, Avengers: Infinity State of war, Avengers: Endgame)
To be a good Cinematographer one has to develop an centre for shooting. This takes time. Creating lite is a challenge. Knowing the different lamps to use and how to diffuse them takes fourth dimension to learn.
Working with Actors and coiffure is a craft in itself. This takes fourth dimension. Learning from others is one way of honing your arts and crafts. Getting a photographic camera and shooting small projects is a proficient path to discovering your vision.
There are many dissimilar creative aspects to discovering your vision as a Cinematographer. Photographic camera placement. Lighting and exposure. Camera movement. Lens choices. Working with the Director. Reading every article you can on cinematography. Talking to Cinematographers.
Do y'all live in Los Angeles? Come up to the ASC clubhouse on open house afternoon (commonly in February) and speak to dozens of Cameramen who are at that place to answer questions. Practiced luck and of course, ever have a smashing attitude and love what you do and do it well.
Cinematography is universally best-selling every bit a fundamental part of the filmmaking process, which is why many film schools accept programs with a heavy focus on it. Institutions big and small have motion-picture show product options that will allow students to explore the earth of cinematography, just certainly the globally-known schools like UCLA, USC, NYU, and AFI tin provide a peak-notch education for aspiring DPs.
But you don't have to nourish a meridian five film school to gain the experience necessary for becoming a skillful DP. What really matters is making the nigh of any opportunities y'all do have. That largely translates into saying yes to whatever productions you can that will let you to flex those DP muscles. Particularly for beginner DPs, it's important to gain experience with student and short films.
If going to higher to acquire cinematography isn't an option, aspiring DPs can absolutely still gain the training they'll need through more compact courses or an abundance of on-set experience. In particular, for someone only starting out who has decided to forego a formal instruction, their initial grooming as a DP will probable come up in the form of beingness an Intern or PA on set up.
While Production Assistants are typically called upon to perform basic tasks such as grabbing dejeuner or helping with cleanup, aspiring DPs should pay particular attention to the needs of the Photographic camera and Lighting Departments. By anticipating the needs of those coiffure members, an emerging DP can grade connections with them and potentially exist tapped to work on future productions as a PA for those specific departments, which can foster the learning process.
No affair where an aspiring DP begins, they should keep in mind that their education never actually ends. Especially with continual advances in camera technology, even the nearly veteran DPs must keep on meridian of all the latest trends and evolutions in filmmaking.
What qualifications practise you need to be a Director of Photography?
Polly Morgan (A Serenity Place Function Two, Legion, American Horror Story)
NYU Tisch, AFI, Chapman, UCLA, and the Savannah College of Fine art and Design (SCAD) are graduate programs that accept 2-iv years and cost hundreds of thousands of dollars. They can be out of budget for almost people; I spent a lot of fourth dimension trying to get scholarships for AFI and I still owe a lot of money. Fifty-fifty the brusque courses at the New York Moving picture Academy cost a fortune.
[However] as a PA, you can watch how all the different departments interact and interact. That's priceless. It helps you to be patient because you can see how challenging each job really is. Every bit a PA, the level of responsibleness is fairly depression so you have time to stand to the side and observe people at work.
That'south a hell of an education. If you haven't had that set feel, and yous showtime working straight out of movie schoolhouse, you can miss that big moving-picture show experience. I see young DPs coming in without working their way up through the Camera Department because, with digital capture, information technology'due south more achievable to move up quickly.
I still call back information technology'south important to understand the process and know how to treat people with respect. Ultimately, I'yard only as expert as the people who are working with me–I can't do this chore lonely.
Just shoot. Shoot brusk films using any equipment you tin can find, even your iPhone — we have such easy admission these days to video capture, fifty-fifty under low-low-cal and natural light situations. Shoot as much as y'all can.
Picket movies to see what inspires you and what you actually similar.
Chris Seager (Carnival Row, Watchmen, Six Minutes to Midnight)
With regard to myself and my relevant qualifications, at the age of 18, I attended art school and studied Photography so continued on with a post graduation course in Moving-picture show and Television. After this, I became a freelance Camera Assistant [2nd AC] for a time then joined the BBC Moving picture department, where I moved upward through the diverse photographic camera roles from 1st Air conditioning, to Camera Operator and and so a DP. I subsequently left the BBC to continue being a successful freelance DP.
First and foremost, I believe that you have to show a business firm interest in Photography, Art, and Cinematography. Qualifications needed these days are a good education tape, with GCSE's and A levels. Ideally a further education accomplishment in Media Studies or a dedicated Moving-picture show grade such as at Bournemouth Movie School or the National Film Schoolhouse.
The film industry is a competitive world and armed with a caste in Media or Film etc doesn't necessarily mean that you'll get a DP straight away.
Paul Hughen (WandaVision, Avengers: Infinity War, Avengers: Endgame)
Many Directors of Photography start on smaller projects and work their way upwardly to bigger shows, commercial or television programs. Y'all tin shoot brusque films or documentaries to work on your arts and crafts or "way."
You might like working in black and white. Is that your manner? Sentry as many black and white films that you tin and learn what works best for what you like. Watch the film a second time with the audio off! That fashion y'all are paying attention, not to the story or the Actors talking but to the images on the screen.
When I wanted to be a Camera Operator I watched The Godfather 5 times with no sound. It is a cute movie with no audio. Like visiting a museum and looking at paintings all day. Gordon Willis was a primary storyteller through the camera. Also, The Black Stallion. A brilliant cute film.
In film school, my teacher liked foreign films. We watched a lot of them. If there is a state you like you lot tin can probably observe a movie that was made there. Check it out. There could exist something nigh the film or the manner that's inspiring.
I am a big fan of the film Casablanca and have studied both the making of the film and the writing of the screenplay. I believe it to be one of the best films ever made. The blackness and white cinematography is outstanding. I hope that yous will have the time to watch this 1942 picture show masterpiece. Even though the motion picture is blackness and white I hope that you will picket the picture twice. Once with the audio and then a second time without.
When the sound is out, look at the choices the Cinematographer made for lighting, and camera move, and lens choices. Why is a close-up tighter on Lauren Bacall than on Humphrey Bogart? Shadows against a wall. A camera move across a room. These decisions were made by the Director of Photography.
The film industry has largely transitioned to digital from 35mm. Every bit of 2017, 92% of all movies were shot on digitaltwo.
In part considering of how poorly early motion picture stock could be maintained and preserved, the Library of Congress estimates that approximately 75% of silent-era films have been forever lost3.
Among some of the most well-known DPs who take gone on to have successful careers as Directors are Haskell Wexler, Jan de Bont, and Barry Sonnenfeld4.
Morgan explains that you enter the Local 600 Camera Union nether different roles:
"It takes fourth dimension to be accustomed into the marriage as a DP. I started in the spousal relationship as a Camera Assistant and eventually moved across the spousal relationship to a DP classification. Yous take to pay a adequately hefty sum of money to join the marriage, just you do become a pension and wellness insurance thereafter. If you join besides early, you have to pay a lot to join as almanac dues tin can be costly at get-go."
If you are at the first of your career, Morgan advises, "Don't exist in a hurry to join a union or get an Agent — it eats upwardly your money if you're not working enough. Build upwardly your non-union days kickoff and, one time yous're working regularly, consider joining."
The criteria for joining the Local 600 change all the fourth dimension, and then cheque the website for up-to-engagement information.
What is the single biggest suggestion you would requite to someone wanting to go into this career?
Polly Morgan (A Placidity Identify Part II, Legion, American Horror Story)
"Find a local production company and endeavor to get experience there, fifty-fifty as an Intern. Offset-hand noesis of how product works is aureate."
What's the #i fault people make when trying to get into this career?
Polly Morgan (A Placidity Place Part Ii, Legion, American Horror Story)
"Ego. No one is entitled to the chore. Proverb that, if you work difficult and remain kind and respectful to the people effectually you, there is space."
What is the question people should ask about this career just rarely do?
Polly Morgan (A Quiet Identify Function II, Legion, American Horror Story)
"I recollect people see cinematography as glamorous in some way, simply the task is not for the faint of heart. It'south incredibly hard work, taxing and challenging on all fronts. Don't take it lightly."
If yous could draw in one discussion what makes you successful, what would information technology be?
Polly Morgan (A Quiet Identify Role Ii, Legion, American Horror Story)
"Decision."
Paul Hughen
Paul Hughen, ASC is a Director of Photography whose recent piece of work includes 2d-unit cinematography for WandaVision, Westworld, Birds of Prey, Godzilla: King of the Monsters, and Avengers: Endgame.
Polly Morgan
Director of Photography Polly Morgan was born in London and, after working equally a Camera Assistant for many years in the U.k. and Canada, Polly attended AFI (American Film Institute) in 2008, completing a Masters in Cinematography.
Soon afterwards graduating, Polly began shooting independent features that garnered acclaim at festivals such every bit Sundance, SXSW, and Tribeca, before branching into television in both the UK and America. She has shot on series including American Horror Story, Strange Angel, Call The Midwife and Legion.
Named an ASC Rising Star in 2012, Polly has since become one of the youngest members to bring together the BSC and was named equally one of Variety's "Ten Cinematographers to Watch" in 2016.
In 2018, Polly shot Noah Hawley'due south Directorial debut for Fox Searchlight, Lucy In the Sky with Natalie Portman, and become one of the youngest members of the ASC. She is the only female ever to exist both an ASC and BSC member.
Polly's cinematography work has been featured in British Cinematographer, American Cinematographer Mag, B&H Photo Video's Women of Influence, IBC, Randi Altman'south postPerspective, IndieWire, Fansided, Pushing Pixels, Awards Spotter, The Hollywood Reporter, Multifariousness, Backstage, Cnet, The LA Times, Teen Faddy, and The Wrap.
Polly recently wrapped shooting the sequel to A Quiet Place for Paramount Pictures. She is repped by Gersh.
Chris Seager
Chris Seager BSC is an international award-winning British Cinematographer. With a raft of wins, nominations and ii British University awards to his name he works predominantly on loftier-end television drama (Funfair Row [Series1&2], Watchmen, Game of Thrones, The Alienist, The White Princess) and feature films (Half-dozen Minutes to Midnight, A Kind of Murder, Fix Fire to the Stars, The Merry Gentleman, White Dissonance, The Walker, New in Boondocks, Beautiful Affair and Fever Pitch).
He has worked alongside industry heavyweight Directors such as John Schlesinger, David Yates, Paul Schrader, and Michael Keaton, having shot Keaton's directorial debut feature, The Merry Gentleman. Chris has successfully collaborated recently with talented Directors Andy Goddard, Jamie Payne and Thor Freudenthal.
This year Chris has been in Prague shooting Carnival Row [Serial 2], Amazon'south night fantasy show starring Orlando Bloom and Cara Delevingne.
- 1THR Staff. "Hollywood Salaries Revealed, From Movie Stars to Agents (and Even Their Assistants)". The Hollywood Reporter. published: October ii, 2014. retrieved on: April thirteen, 2020
- 2Various Authors. "Digital Cinematography". Wikipedia. published: 2021. retrieved on: 30 July 2021
- 3Ohlheiser, Abby. "Most of America's Silent Films Are Lost Forever". The Atlantic. published: 4 December 2013. retrieved on: thirty July 2021
- 4The Playlist Staff. "15 Cinematographers Turned Directors". Indiewire. published: 17 April 2014. retrieved on: 30 July 2021
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