The expanding role of the DoP into the digital source realm
 
Our first role is to support and influence the visual choices that a film director or producer must make and guarantee that his vision, in the end, will predominate when final editing is over.  Of course, all of this usually within imposed strict limits in time and budget!
 
Since so many myths live an easy life within the community as to recent technical issues, new dream tools and untold returns, our role is now more than ever, so important to sort them out and bring every one back to the reality and specificity of each project in regards to image quality.
 
We must not forget either, that our cinematic language is composed of elements that are needed for the comprehension of the animated film story where the written word is overly simplified; thus we need to transpose the author’s intent when dialogue is the only part of his story that makes it to the screen. Much responsibility thus rests on our shoulders. Here then are the main elements that require our attention:
 
·      Shooting angles, levels and layouts
·      Camera movements (stable & panning to overly present)
·      Depth of field management (including 3D convergence)
·      Editing rhythm and logic (eye lines, point of view)
·      Color timing LUT at pre post, to give realism in VA during shooting
·      Special effects (on set)
·      Lighting & light types
·      Technical film/digital standards
 
The last two of the list, are really the heart of the DoP work. These are the elements that require the most knowledge, especially during production, as their impact is often only truly appreciated only during editing, when there is no turning back or when creative choices dwindle like snow in the sun.
 
Lighting
 
Light or its absence is the core of any image. Its shape and dominance gives a story all its drama potential. Controlling it is thus one of our main preoccupations. With it we can highlight people, issues, and make open surgery inside any story. Here are the main tools of lighting:
 
·      Defining story zones with key lights and contrast
·      Adapting light types to the media and the story (LED, Tungsten, HMI etc..)
·      Adjusting light temperature for warming or cooling of the story mood
·      Light latitude within the capture media*