Director/DP Reel

Director/DP Reel from Bethany Rogers on Vimeo.

Artist Statement

Moving images can pull you out of your own reality and take you to another world. A world with another story for you to experience. A world that teaches you something or that provides an escape.

Ever since I can remember, I have appreciated the way that this can happen. Growing up, movies, TV shows, and similar things fascinated me because of the adventures I could experience through visuals in front of my eyes. There were hundreds of stories that I got to play a part in. Over the years, I learned more about how things like this were made and I developed admiration for those who could produce those beautiful visuals for everyone to encounter. That admiration soon led to my own aspirations.

As I begin my journey as a visual storyteller, I am learning each day how to create that new world that others can enter into. I’m learning how to translate my thoughts and ideas into a language that others can understand and appreciate just like I did. I don't think I have found that one style that defines me or is the essence of my visual storytelling, but with each new day of learning and new experiences in my reality, I am searching for it. I'm searching for it so I can share it with the world. When I find it, I can build a visual for others to join me in living. 

I want my aspirations to continue to grow into inspiration so I can provide a world for others and make it the best that it can be. I know that is why I’m here.

DSLR

The DSLR movement has gained a lot support in the filmmaking community in recent times because of the many benefits that come with shooting video with a DSLR camera. However, sometimes it seems too good to be true. There are downsides to this mode of shooting also. Something to always keep in mind is that DSLR cameras were not built with shooting video in mind. They are built as still photography cameras and therefore have limitations.

Some of the benefits: The image quality that DSLR cameras can get is amazing. They shoot very well in low light situations and have rich color. If you want to achieve a shallow depth of field, the DSLR cameras can do that much easier than other film cameras. These cameras are very small in comparison, and therefore are much more mobile, portable and easy to travel with. The post-production work-flow is faster than that of cameras that use tape because of the memory card used in the cameras.

Some of the limitations: Audio capture on DSLR cameras is below average. To get good audio, you would need an external mic which might be a hassle if in a hurry. Also, if you're not careful, fast movement can cause the unwanted "jellyroll effect" on your image.

I haven't shot on an DSLR camera very much; I've only used the T2i one time for a few minutes. I would love to get more experience with them not only to add variety to my range of camera use but also because I really love the benefits of the cameras.

DP Reel

As a DP, a lot of hard work goes into achieving the final product. Whether it's planning a shot, organizing, or filming, it takes time and effort. That work just sits there unless something is done with it. That's where reels come in. A DP reel should above all showcase the hard work of an individual. It should feature the best characteristics of their work. It should highlight their strengths. It should catch your eye, and make you want to go out and work with the featured DP right away.

After looking through a lot of reels and seeing what other people have accomplished, I found some reels that I enjoyed more than others. Although the shots are generally very simple, it caught my eye with it's color


DP reel from Joel Roewer on Vimeo.

This is another reel that I liked. Just like the one above, the color really stood out to me. Also, the variety of shots was appealing.

Geoff George - DP reel from g s george on Vimeo.

Just like some DP reels can be very attractive and visually appealing, others can be the opposite. While some reels may not be compelling to certain people based on pure visual preference, there are things that generally make a reel less appealing. If the reel runs too long, the viewer might lose interest. If the shots don't vary enough, there might not be enough material for the viewer to see the DP's full potential. Sometimes if the pace of editing doesn't match up the pace of the shots, it might feel off. There are a number of things that might contribute to a less compelling reel.

$$$

Anytime I watch a film, there always seems to be that one shot that makes the entire movie worth it. That one shot that is so beautiful, that speaks so much, that sums up an entire feeling, or even the visual that the entire plot depends on. Money shots. They can bring in the money and make the movie a success, they can be the shot that cost most of the budget...either way, money shots are certainly something that many want to capture.

Sky from Philip Bloom on Vimeo.


Iceland, Eyjafjallajökull - May 1st and 2nd, 2010 from Sean Stiegemeier on Vimeo.

For my own DP reel, I think I would be happy to get shots that look even just a fraction as beautiful as these above along with others I've seen. I think that what makes these types of shots so compelling is a combination of things like color, subject matter, time lapsing, composition...and many more.

Reflections: Scene Assignment

In many ways, this scene assignment was what I expected it to be and at the same time nothing like what I expected. I think I learned a great deal about how I work as a director and a DP, but I think the emphasis of my learning was definitely on the whole process of making the finished product, which in this case was one scene. I was reminded of the importance of pre-production and organization as a director. My scene went much smoother because of the planning that happened before filming began. Pre-production should never be underestimated.

For me, the most difficult part of directing a scene is letting go of technical control. I found it very hard for me to stay away from the camera and completely trust my DP to achieve the vision that I had. As a DP, I think the hardest thing to master is the application of my director's vision. I think it's really hard to hear the ideas from the director and take those and make it happen. That is definitely something that I want to continue to work on.

I think that for the most part, my scene and my DP's scene turned out okay. There are mistakes I made as a director and a DP that I wish I could change now once I saw the footage in post-production however. These mistakes are simple and careless though, so I know that they can be improved upon. 

Camera Movement

I love camera movement. It can make a simple scene much more detailed, elaborate, and beautiful. It can speak about a story just like any other aspect of art used in film, such as creative framing, composition, color, and lighting.

This tracking shot in the film I Am Cuba is really beautiful and works to tell so much detail in the visuals.

Simple dolly or glide track shot can also be very effective in visual storytelling. It can guide the viewer where to look. This clip features several of these types of shots.



Handheld camera work is also a way to incorporate movement into the visuals of a shot. It often gives the scene a very distinct mood, much like a documentary. It feels much more raw and honest. This scene in Harry Potter and the Deathly Hallows demonstrates this.

DP: Wally Pfister

I don't think that I have one favorite DP, mainly because I don't know as much about notable DPs as I could. Despite this, one that has recently come up on my radar that I enjoy is Wally Pfister who has collaborated many times with director Christopher Nolan. Some of his noteworthy accomplishments include Inception, The Dark Knight, Batman Begins, The Prestige, and Momento. I think part of the reason that I enjoy Pfister's work is simply because I enjoy a lot of the films as a whole that he has shot, but also, I think Pfister has a certain style that is evident in his work.

He uses dim lighting quite a bit, which often conveys a darker, more gritty mood in a story.

The Dark Knight

The Prestige

The Prestige

Batman Begins

Inception

Handheld camera work is another characteristic of his style. In an interview with a magazine, Pfister was quoted, "Every time the camera can be on my shoulder, it's on my shoulder. So that creates an enormously free-form way of filming. I can pan around any direction."


This is a scene in Inception that features a lot of handheld camera work done by Pfister.

Even though Pfister has a distinct style that is evident in his work, a lot of what comes out on film, similar to many DPs, is a collaboration of his style as a DP and the director's vision. In his own words, "It's just getting on the set and looking at what's there and either creating the life or taking what's there and augmenting it and making something out of it based on the director's vision, and the rehearsals, the actors, and all the other elements combined."

Scene Assignment

Scene Assignment from Bethany Rogers on Vimeo.