So, your using a DP, eh?

What is there to say about doing a project with a Director of Photography?

Well, from my experience, you have to let go of your own ambitions and allow the DP to do his/her job. You have to trust that they can comprehend your requests for a shot. Of course, sometimes you may have to very in depth with your description but often times, just giving a general guideline for what you want to achieve is suffice.

The DP is responsible for capturing whatever it is the director feels is the "look" of the film. It could be film noir, tranquility, chaos, etc... the DP should know what functions on the camera to tinker with, where to start from, and how to finish the request.

One thing that is important is getting lots and lots of coverage shots. From my experiences, having more than you need is INFINITELY more important than not having enough shots. When you have plenty of coverage, you are able to remove the bad shots and include only the captivating and visually compelling shots to your piece.

Working with a DP is a little tricky in that most of us want the camera in our own hands at all times. But, it is very beneficial to the director if that person can focus solely on the overall production and not just the camera work.

I would like to just list some of my favorite DPs:
1. Roger Deakins
2. Wally Pfister
3. Conrad Hall
4. Michael Chapman
5. Phil Parmet