Cinematographers - Special Selections

There are 100’s of excellent films out there, from all counties, but a cherished few are deserving of a very special moniker – iconic. We’ll be talking about these examples of outstanding cinematography and direction throughout this semester, and I’m still working on my list of selections. I feel like a kid in a candy store, there are so many choices. Because the class is Cinematography, we’ll detail films that demonstrate exceptional achievement in that category, works that played a pivotal role in the evolutionary process of film production, camera work and audience reaction.

The first film on my list is The French Connection (1971), photographed by Owen Roizman, for which he received the Oscar, and directed by William Friedkin.

In my next posting we’ll examine some of the principle components of cinematography that make this film so special. Stay tuned…..

Greetings

Hello Everybody,

Welcome to the start-up Post for Edisto Cam, my new blog. Edisto Cam is about filmmaking in general and cinematography in particular. That's because I'm a cinematographer. However, please be advised that heretofore, unless otherwise stated, references to cinematography and camera work will include both physical cinematography and electronic cinematography. Physical simply refers to film running through the camera and electronic refers to video production of all types - analog/standard definition; digital/wide screen; 24p; 1080i, etc.

We'll be talking a about technology but real cinema creativity comes from the mind, the hand and the heart. And Life Experience also plays a big role. Quoting the late great Director of Photography, Nestor Almendros: "Technical matters are really quite secondary in filmmaking. Far more important is taste and having a good eye."

Along the same line of thought, DP Haskell Wexler wrote: "I don't think technology is either good or bad. We get so excited about some device that we don't think about what we are doing."

In other words, the thought process is most important. Nine tenths of cinematography is in the brain - visualizing and designing the overall approach to an assignment. Think in a 360 degree pattern all the time. Tune into whatever is going on around you at all times. Think in terms of visuals and audio. Observe movement, lighting, conversations or ramdom sounds. Connect in you mind what you observe in life with a pending assignment; connect in your mind whatever films you see with pending assignments; take notes when you can but after a while you 'll find your visual retention skills improving.

For example: If you are in a restaurant, note how the light, whatever its source, falls on the faces of people around you; on the waitstaff and other diners as they move through the space.
When you are in a movie theater, turn around and note how the light from the screen dances on faces in the audience. When you're watching television with friends, see how the light from the tv screen dances on faces and other local surfaces in the room. If you are in a shopping mall, observe how light works throughout the entire space. Tune into conversations between people. If you happen on something interesting to watch or listen to, follow along in a unobstrusive fashion, noting whatever variations happen in the process.

Look, see, listen, feel. Feel the struggle when observing challenging subjects. Watch the news. The airwaves are full of challenges.

Well, that's enough for what I hope is an inspiring introduction to Edisto Cam. Next posting we'll continue with the thought process and examine how one might link the fundementals of life watching with practical and technical applications of cinematography - i.e. shot composition and all that goes on in the frame.

We'll be in touch. Good hunting.

Frost