2. Opening of Touch of Evil and the sound booth scene in Strangers on a Train are useful resources to study camera movement.
3. Back lighting is more cinematic. Light from the behind and fill. Reverse Lighting.
4. Our past failures shape us. Better to have done a bad film than not to have done anything. It gets better.
5. Working on a no budget? Write where there is only a handful of characters. I suggest 5 max.
6. You’re only as good as your team. Surround yourself with good filmmakers.
8. Filmmakers are psychologists with cameras.
9. A quick way to decent lighting, back light your subject, then add some fill.
10. Think in terms of meaning, themes, symbolism, and message.
11. Try to make your actors as comfortable as possible.
12. On set monitors are great, still think it’ll be great to also show dailies.
13. Your film is two films. You edited the pictures together to create one. Then sound design creates another.
14. When filming outdoors, try putting the sun behind the subject and use a reflector if needed.
15. Your reel is a major key to your career.
16. Be respectful. No one wants to work with arrogant jerks or condescending attitudes.
17. Encouragement and appreciation will keep your team happy to work with you.
18. Be prepared but be ready to adjust.
19. Story will always be king. Concentrate on developing a good story.
20. Look out for old lenses. They’re cheaper and usually comes with some character.
21. Turn your tripod into a dolly by pulling one leg up and leaning the tripod forward and backwards.
22. Be honest with your actors.
23. Carry a notebook or something that takes notes with you at all times. Inspiration can come at any time.
24. Digital Cameras are like film emulsions. The give off different looks. Test them out before starting a project.
25. Write around what you have to eliminate headaches.
26. It’s better to tell the story than deliberately trying to be flashy.
27. Light for the F-stop you want.
28. Amazon search “EZ Frame”. Reflector that can be mounted on a light stand to act as a flag. Very useful.
29. When editing, cutting with motion helps the cut go unnoticed.
30. Getting feedback is a sure way to improve yourself.
31. In film we adapt to situations.
32. Cinematographers in this age should sit with the colorist to ensure his or her vision remains.
33. The important thing is to know your tools’ limits.
34. Action scenes and commercials rely on story boards.
35. It’s best to always schedule breaks. You don’t want to run on “E”.
36. Raise light to drop shadows.
37. This is often overlooked. Add some eye light. Turn on the flash light on your cell phone if you have to.
38. There will never be a perfect camera. So stop waiting on one and use what you have.
39. Blog Post: The Shawn Lights Filmmaking Handbook. Ton of information gathered over the years. http://wp.me/p3cQIu-4s
40. Turn one shot into two with just camera movement to create a more cinematic feel.
41. Quick guide to cinematic images part 2: Depth of Field http://wp.me/p3cQIu-1i
42. A good source of inspiration for creative ideas is music. Put on some headphones and turn up the volume.
43. Quick Guide to Cinematic Images Part 4: Inserts vs Detail Shots http://wp.me/p3cQIu-1u
44. Mixing different color temperatures together can create interesting images.
45. Quick Guide to Cinematic Images Part 3: Lighting Guides. http://wp.me/p3cQIu-1t
46. You have a smartphone? Check out the shot designer app.
47. Rake light on background wall = good start.
48. Take the soundtrack/musical score serious. It adds to the overall feel of the film.
49. If you can, limit the amount of hats you wear. Get people who can do certain jobs well.
50. Blog post: The Beauty of the Backlight. http://wp.me/p3cQIu-3f
51. Best to think about your final aspect ratio before shooting.
52. Every time you do a project a lesson is learned.
53. If you haven’t yet, purchase a copy of “Moviemakers’ Master Class: Private Lessons from the
World’s Foremost Directors."
54. Great cinematography is about context. That shot is beautiful because it’s essential to the story.
55. The style over substance black hole is always around, try to avoid it.
56. Shoot as much as possible. Trying to make your first short perfect isn’t realistic. Mistakes build
experience.
57. Simplicity is often beautiful.
58. Make your own way to success. The conventional ways don’t apply to todays digital age.
59. Know the effects of focal lenghts to creatively and effectively tell the story.
60. Need a cheap location? Book a hotel room and go with an extremely small crew.
61. It takes several films in order for you to find your voice. Enjoy the journey!
62. Examining still images can help improve your skills.
63. Big window in the scene and you don’t have ND gel? Expose for the window and light inside. .
64. Color grading should enhance what the cinematographer already created. .
65. Blast light through a white bed sheet for diffusion..
66. Check out our color grading tutorial. This trick will have you grading in seconds. http://youtu.be/lM4DMsbDk3g?a
67. Assistant Director is such a valuable asset. .
68. Never stop learning.
69. Achieving David Fincher’s Color Palette. http://wp.me/p3cQIu-o
70. Blog Post: How Music can become an Unseen Character in your Film! http://wp.me/p3cQIu-3F
71. You learn MUCH more from the mistakes you made than the things you did right.
72. New directors are often intimidated by Actors. Truth is they’re usually intimidated by you too. Work together.
73. On set keep a marker handy and write your name on your water bottle. Money saver and stops
confusion.
74. What lens you use is your creative choice. Several love wide lenses, Hitchcock loved normal, and Kurosawa loved telephoto lenses.
75. Light the points where the actors hit.
76. The script is merely a guideline. Go with what looks, feels and sounds natural, but don’t get carried away.
77. Always check to make sure you have multiple takes of the shot you need before leaving set/location.
78. Quick Guide to cinematic images Part 1: Lighting http://nashawnosborne.com/2013/02/22/18/
79. Light is your paintbrush. Shadows are your magic.
80. 3-point lighting is ok, but try side lighting your subject.
81. Try not to burn bridges.
82. If you’re not early, you’re late.
83. Generally the background is always darker than subject.
84. It’s actually more cinematic for the background to gradually blur out instead of shooting incredibly shallow.
85. Great lighting can be a simple setup. Doesn’t always have to be complicated.
86. When filming an over the shoulder it’s a nice effect to push in slowly to a close up as they come to the end of their lines.
87. Everyone on set deserves respect. From the Producer down to the PA.
88. Contrast ratio can be an easy way to achieve a certain mode. 4:1/8:1 is good for Drama. 2:1/3:1 for comedy or light hearted films.
89. Hardest thing in film is finding your voice. Enjoy the journey.
90. There are no rules in Cinema, only guidelines.
91. You’re an artist. Your job is to provoke a reaction and emotion. Good or bad. #FilmTip
92. Try to keep your background from competing with your subject, by making it a few stops darker.
93. Set process: Blocking, Light, Rehearse, Tweak, Shoot.
94. Watch your favorite movies and try to figure out what is it about them that draws you to them so
much. Camera, Story, Acting, etc.
95. Directing doesn’t necessarily mean you have to constantly be telling people what to do. Listening and considering is important.
96. Frame for what’s there, adjust for what happens.
97. I know it hurts and I know you love that shot, but if it doesn’t fit with the overall film you have to cut it.
98. Don’t be afraid of shadows. What’s not lit is just as important as what is lit.
99. In my opinion, cinematic look isn’t shallow DOF. Cinematic look= lighting, camera movement, etc.
100. The antagonist is the one who forces the hero to make decisions. In a way the antagonist is often the most important character.
101. There is no set way to directing. Learn what works for you.
102. We’re in a generation of quick cuts, but experiment by linking shot types with simple camera movement.
103. Back light when shooting a rain scene. It’ll make the rain pop.
104. Come up with your own ritual. Having a routine may help you. Find your element.
105. Having a positive attitude and working hard is a way to success.
106. Formula for perfect Lighting = Whatever works.
107. Establishing shots aren’t necessary, but it’s useful for eliminating geographic confusion.
108. Lenses are often more important than the camera. Good glass is always a good idea.
109. Way around the 180° degree rule, cross with camera movement.
110. Storyboards is a great way to easily convey your vision to the crew.
111. Nothing or no one can teach you more than just going out and shooting constantly.
112. Parallax is essential when it comes to cinematography.
113. Make sure you expose for your highlights when using most digital cameras.
114. Usually it’s best for the Actor/Director relationship to feel like a partnership not a dictatorship.
115. Low budget means work with a small crew and wear many hats.
116. Reflectors should always be on set.
117. Practical lights is essential. Invest in some dimmable lamps. You can use them to set design and motivate your lighting.
118. As several DPs say, it’s better to make a great film than a great looking film.
119. It’s sometimes easier to beg for forgiveness than ask for permission.
120. Creativity is often the solution to limitations.
121. Over shooting can be harmful. Useful coverage > Shooting every angle in the world.
122. Independent Directors should think in terms of editing.
123. I know they told you to white balance where white is white, but get creative with it. WB can change emotion. Terminator 2 anyone?
124. Mistakes happen. Key is to learn from them.
125. Filmmaking is a collaboration not a dictatorship.
126. Some lights for you to search: z96 light, CN600 SA, 500, 600, and 900 Led lights. Amazon and Ebay is your friend.
127. Wide shot, over the shoulder, reverse OTS, and close ups is a standard that works.
128. Set design can make an uninteresting room into something amazing.
129. 4 pages a day and you have written a feature film in 30 days.
130. Light meters aren’t meaningless in the digital age. Still immensely helpful.
131. Blocking action is a big ingredient to making images look cinematic. Yes even that guy seemingly randomly walking pass the camera.
132. Cinema is all about illusion.
133. Filmmaking is psychological manipulation using stories, cameras, sound, and light.
134. Free writing or writing words that comes to your mind on a piece of paper can help you come up
with something creative.
135. Try to always do an extra take for safety and good measure.
136. Trust your eyes when setting up a shot.
137. Technical things can be learned. Heart, passion, and dedication is all on you.
138. Get the *beep* Key light off of the background.
139. Pay attention to back light when you watch movies. It’s almost a necessity.
140. Filmmakers should read novels. Novels help you think visually.
141. Hard light usually is better for wide and master shots. As you get close, soften up.
142. Using sound design you can contrast, contradict, or compliment the image. The options are endless.
143. Sound is 50% of the project, take it seriously.
144. If you can’t borrow, rent. If you can’t rent, lease. If you can’t lease, buy.
145. Usually when you use lenses on either side of normal (wide & Telephoto) things are more
interesting.
146. For every shoot day there should be a pre-production planning day.
147. Never underestimate the importance of lighting when filming.
148. Food on set is a must.
149. Multiple lights near each other creates multiple shadows. Bouncing them together works.
150. Cinematographers should know their cameras limitations.
151. It’s important to ask yourself what do you want the audience to feel before shooting a scene.
152. Filmmakers rely on their crew to make the film the best they can.
153. Practical lights is essential. Invest in some dimmable lamps. You can use them to set design and motivate your lighting.
154. The internet is extremely important for Indie Filmmakers. Don’t just wait out for Film Festivals.
155. Take pre-production serious. Be prepared. Work smarter not harder.
156. Cinematographers and DPs should visit art museums. Pay attention to the lighting in paintings.
Renaissance era is my favorite.
157. Take a moment to look at how the light in a room is falling. No matter where you’re at; restaurant, hotel, etc. It’ll train your eye.
158. How the past can shape your future. Examining Paintings. http://wp.me/p3cQIu-3U
159. If you can’t draw, toys are a great way to create storyboards. Just take snapshots.
160. Don’t have the actors’ call time the same as the crew’s call time. Nothing more annoying than sitting around waiting for hours.
161. When editing music videos, making cuts according to the music/beat is a quick way to make a nice video.
162. Let your actors motivate the camera movement.
163. There is a thin line between tech head and filmmaker.
164. Don’t be afraid to take risks.
165. Try visiting locations prior to shooting.
166. Watch “Living in Oblivion” for what not to do on set.
167. Surround yourself with other creative minds/people.
168. Planning to release in CinemaScope aspect ratio and you’re shooting full HD? Use the motion tool in editing to create a crane shot.
169. Remember what effect lenses have. Wide lenses exaggerates distance, telephoto compresses.
170. Silence is loud.
171. Negative space is sometimes more important than positive space for good frame composition.
172. The key to a character is his or her eyes.
173. If there isn’t much movement in the scene, you may be able to manipulate your shutter speed to increase sharpness.
174. Use black wrap on barn doors to control spill from lights, especially LEDs.
175. Get as much mileage out of a camera setup as possible.
176. Can’t get a back light without seeing the light stand? Hand a silver reflector in the back and bounce a light.
177. Most people upgrade cameras before buying some lights. Without light it doesn’t matter what camera you have.
178. F-Stop affects DoF, ISO affects noise, Shutter Speed affects motion, All affect your exposure.
179. Fog/smoke is often used on Hollywood production.
180. Use speed ramping to easily go from normal motion to slow or fast motion when editing. #FilmTip
181. Pay attention to the growth of LED technology. It’s both economical and comfortable for actors. Gives off little heat.
182. Low angles and High angles are more interesting than eye level.
183. Test out different angles with lights.
184. Don’t try to be a one man band. Filmmaking is a teambased business.
186. Write everything down.
187. Pools of light. Showing what is most important. Directing the eye.
188. Checking a take? Think of Performances, composition, camera movement, background and foreground action, production design, and editing.
189. General rule: a shot has to change by 30° for it to cut with the previous shot.
190. Motivated lighting makes for moving cinematography.
191. The beauty of cinema is that it can encompass anything in the world. From philosophy to music.
What is it you want to explore?
192. The great directors know how to use camera movement to create several shots in one take.
193. Cinema is a perfect blend of art and science.
194. Locations add production value.
195. Mastering the art of staging will lead to cinematic images and moments.
196. It helps to see foreign films. Observing different approaches to cinema is great.
197. Assembly edits can be a great way to give an idea of how the story flows.
198. Digitally down sampling can allow one shot to turn into two. Like a Wide into a medium.
199. Craft beverages should always include coffee, tea, and water.
200. Having trouble planning your shoot? Check out Chimpanzee production software.
201. Filmmakers are now forced to be both filmmakers and marketing specialist.
202. How Music can become an Unseen Character in your Film! http://wp.me/p3cQIu-3F
203. Filmmakers often over complicate things. Keep it simple.
204. Camera movement best done subtly.
205. Often we forget about time and how holding on a shot can have a big dramatic effect.
206. At the end of the day a camera, tripod, light, and lenses is all you truly need.
207. This is simple but it’s true: Practice, Practice, Practice.
208. Picture profiles are like film stocks on these new digital cameras.
209. Don’t be afraid to make mistakes. Our most creative moments often come from making mistakes and fixing them.
210. It’s better to work with the natural light on the location than to work against it.
211. Lighting through windows can help hide your lights and diffuse them.
212. If you do your preproduction well, the actual filming becomes easier.
213. Avoid these words at all costs. They can kill your budget. – “We’ll fix it in post.”
214. Some directors never say action. Just rolling and then the action starts when the actors are ready.
215. It is my opinion that night shots are the most beautiful of all, because light breaks through the
shadows in pools.
216. Try not to use equipment just because you have it. Everything should be motivated by the story.
217. Start building a team as soon as possible.
218. Ever think about lighting a scene outside with the headlights on a car?
219. The story is the most important part of filmmaking. The story is what grabs us.
220. Given you casted good actors, let them give you their input. Great things happen when you work together.
221. Shooting towards a couch in a house or apartment it’s usually a good idea to pull the couch away from the wall.
222. When it comes to outdoor shots it takes you scouting like a soldier documenting the changes of light as time progresses.
223. You have to know when to comprise and when to stand your ground.
224. Filming in natural and low light, you have to strategically place your subjects.
225. Pace each shot. Slow heightens emotion, Fast heightens action.
226. Separate your subject from the background.
227. Casting is one of the most important aspects of making a film.
228. Pay attention to the color palette. Check out Adobe Kuler for help.
229. Rule of thirds is more of a guide than a rule.
230. The conventional color grade is to cool off the shadows and warm up the midtones.
231. Closeups are like underlines, it’s important not to overuse it.
232. General rule, don’t fight with the sun because you’ll lose. Easier to gel lights than to gel windows.
233. Crew is never mad at wrap up beers!
234. A portable slider is an easy way for you to be able to capture cinematic shots.
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