There are a lot of careers out there, but few are as competitive as the film industry.
Although from the outside making movies may seem like a really cool job (which it is),
it’s also a tough occupation that isn’t for the faint of heart.
Rising to the top and taking on a head of department role, like cinematographer, is
no easy task.
Today I’ll go over the two traditional paths that people take to become DOPs - going to
film school, and working on film sets - and talk about a possible third option, the option
I’m pursuing, to become a working cinematographer.
When people discuss film school they usually only discuss two things: its role in teaching
students about filmmaking and about giving students access to gear.
Rarely do they talk about what I see as the most important aspects of film school: providing
an environment which forces you to shoot a lot of films, and introducing students to
cultivate relationships with fellow filmmakers.
The only way to get cinematography work is through creating relationships with directors
and producers.
They are the gatekeepers of deciding which DOP shoots a project.
So I’d say the biggest advantage of film school lies in the potential of meeting and
forming a network of bonds with collaborators and future employers.
Take Emmanuel Lubezki for example, one of the most famous DOPs in the business.
How did he start shooting for Alfonso Cuarón?
They studied at the same film school together.
Having access to expensive film gear and being forced to shoot as much content as possible
will also help your growth as a DOP.
Taking the path of attending a film school can therefore potentially fast track your
career.
Especially if you are able to shoot a project with some festival success during film school.
However I think there’s a misconception that talented students coming out of film
school will immediately start working as a DOP.
There may be a handful of unusual cases where it occurs, but most of the time going to film
school is only the first stepping stone on the way to working as a HOD.
There are also many boundaries to attending a film school, the most obvious of which is
price.
So, what other paths exist for people who are not able to study at film school?
Another path to becoming a DOP is working up the hierarchical ladder on set as a crew
member.
Typically on a film set you start at the bottom as a Production Assistant where you do everything,
from making people coffee, to driving around doing errands or helping out any department
that needs it on set.
You can then slowly make your way up whatever department you desire - camera department,
lighting department, grips department - until you begin to get work as a camera operator
and eventually as a DOP. (up camera department ladder, job titles)
Because of its hierarchical nature this traditional path is usually a long one that requires years
of work and making connections to move up.
However it also has its advantages.
Working on set teaches you an incredible amount.
You learn about technical gear, how to interact with people, how to work quickly under pressure.
You are able to observe various cinematographers and directors at work and you learn how to
deal with working on set from an emotional standpoint.
It’s one thing reading up online about how to build a camera or rig a light, but doing
it in person is something altogether different.
Certain things are better learnt by doing them.
I think regardless of what path you want to pursue to becoming a DOP spending time on
an industry set should be a prerequisite.
People interested in becoming filmmakers should experience being on a set before deciding
if it’s the industry for them, because the reality is it’s not for everyone.
It can be a tough job.
It’s not as glamorous as people think.
As you start at the bottom, building relationships with crew members can take time, but if you
work hard and are looking to learn and improve your skill set, the relationships that you
do build will be strong ones.
The reality is that although these are two starting paths on the way to a career in cinematography,
neither approach is absolute.
The third, and most common path, is one that is a mix of methods.
Building your career through a combination of on set experience, online or school-based
cinematography education and shooting as much as possible to build up relationships with
directors and simultaneously build up a reel.
This is the approach I’m taking.
I try to accumulate technical knowledge from working on set, more philosophical knowledge
from watching films or analysing art and practical knowledge from shooting films by myself or
with directors that I’ve built relationships with.
With this path it’s possible to acquire information and experience from many different
sources: reading articles online, watching videos on filmmaking, going to film festivals
and listening to Q and As, making films with your phone, or talking to the gaffer on a
film set about lighting.
Try to use whatever resources you have available to grow your skill set.
Once you’re able to start a basic network in the film industry it’ll naturally grow
through word of mouth and working on different projects.
No matter how you get there, the path to a career as a cinematographer has to be an active
one.
You have to constantly be striving to improve your skills, your knowledge and network of
employers.
Typically this should all happen simultaneously.
In the advancement of any career there’ll always be an element of luck, whether it’s
replacing a college who is retiring or the company having a good year and expanding their
staff.
The film industry is no different.
People often talk about this idea of ‘getting a break’, but breaks can only be gotten
if you’re skilled and put yourself in the right position at the right time.
Some people make it early in their careers, many don’t.
The path to becoming a cinematographer requires constant work and diligence.
Gary Player, a South African golfer summed it up best by saying, “The more I practice,
the luckier I get.”
Thanks for watching this video.
I’m pleased to see that there’s been increasing engagement in the comments recently.
Asking questions or presenting your theories in the comments is another avenue to improve
your awareness and cinematic growth.
Until next time, thanks for watching and goodbye.