I just finished directing and shooting my latest feature and wanted to share some thoughts on the process. Hopefully this article will help those who want to combine both roles in their projects.
Before we talk about some of the strategies I use on set, we should talk about determining if this path is right for you. Because there are many benefits (but also drawbacks) to doing so.
As with any other choice, it’s always about what’s best for your overall project.
DPing your own movie: pros and cons
DPing your own movies has two main benefits:
- you can work faster
- You have more control over your shot
But both depend on a variety of factors.
As for the speed and efficiency on site, a lot depends on your technical level and vision. frame and light. To a lesser extent, the same goes for the camera you choose to use.
For me, directing and DPing projects usually makes sense because I come from a photography background. I know which tools don’t get in my way and allow me to spend as much time as possible with the actors while still delivering beautiful visuals.
The less experience you have as a DP, the simpler your camera selection should be.
If I were just starting out, I’d rather shoot iPhone and focus on frame, composition, action, story, and performance. As opposed to wasting time solving technical problems with a bigger movie camera that I wasn’t used to.
We’ll explore camera options in detail below. But assuming you choose the right tool for the job, you’ll also have the added benefit of gaining more control over your footage.
Even the best cinematographer can never read your mind. Getting anywhere close requires a lot of communication, both on and off set.
As your own DP, you don’t need permission to pick up a tripod and move it, turn off the lights, recompose the shot, or change lenses. This can increase efficiency if you have a strong vision and know how to execute it.
Of course, there are downsides to making your own film. Even in the best case scenario, your distribution will still be more spread out.
And you won’t get the experience of working with a dedicated photography director, which can be incredibly rewarding and challenge you to try new things.
But ultimately you have to make a decision on a project-by-project basis. I’ve DP’d about half of the films I’ve directed and will continue to evaluate them one piece at a time.
Camera selection
Practicality is the number one factor to consider when choosing a camera for film. This is true of any film, but especially when you’re both the director and the DP.
If your camera is too big, too small, too difficult to operate, too cumbersome to use – it won’t matter how good the quality of your images is. It will harm the final product.
You should always start with a thorough assessment of project requirements and work backwards from there.
Do you do a lot of low light shooting? Shooting handheld? Zoom?
Are you shooting in a controlled environment or in the wild?
Do you have a focus pulling device, or do you pull it yourself?
Answering these types of questions will ultimately lead to the best camera choice.
But as I mentioned before, you also need to consider your skill level to make sure you don’t choose a camera you can’t operate with confidence.
One of my favorite cameras I’ve ever owned is Alexa Classic 4:3. Although the images are beautiful, the camera is large and heavy. For some movies, that’s no problem. But for others, a smaller camera—even an iPhone—might be a better choice. Especially for run-and-gun projects, shooting with little or no personnel.
Ultimately, you want the best image quality in the easiest-to-use form factor that meets your specific needs.
Lens selection
Your choice of lens is just as important as your choice of camera. Maybe more.
When it comes to glass, you again need to consider the practicality and creative qualities of the lens.
Anamorphic lenses are great, but if you’re shooting in low light, you might be better off with a super-fast spherical lens.
For the same reason, prime lenses are sharper overall than zoom lenses, but zoom lenses are faster to use on set.
Some digital SLR lenses can produce intense visual effects, but are less easy to use…
There is no right choice, you can only choose the option that works best for your film and workflow.
Below I’ll share some details from my last two feature films and why I chose the gear/lenses I did.
Director and Cinematography: Two Feature Films
Two feature films that I directed and did photography on are my upcoming films disappearing boyand my new function teacher’s pet Post-production is currently in progress.
These projects are very different in every way and naturally require a personalized approach to equipment and personnel.
missing boy The film was shot in a very unconventional way, taking almost an entire year to shoot on a small set. It was made without any crew and in a very run-and-gun style.
I choose to be in Fuji X-T4as it is the best camera for the job. I like the image quality and small form factor.
While this camera has some shortcomings in terms of image stabilization and autofocus, it’s perfect for my needs. Gorgeous color science, yet small enough to sneak in some photos anywhere. Because I knew it inside out, I could easily balance the camera and directing the actors. It never felt like a struggle.
From a lens perspective, I shot the entire movie with one lens 50mm Leica R Fixed focus lens. This puts a positive limit on the creativity of the film and helps avoid shot swapping – which makes things more efficient.
As for my latest feature film teacher’s petwhich is a big improvement in terms of scope. We have full staff, permitted locations, and more overall resources.
This allowed me to opt for a more traditional cinema camera – the Arri Alexa Mini – which delivers incredible images. I also considered the Arri Amira (a great alternative if you don’t have a first AC), but since I have a focuser I opted for the Alexa Mini.
Alexa paired with DZO Vespid vintage cine lens, powered by TV station. After testing several options at Tvacom Rentals, DZO seemed to work best from a creative perspective. Giving us a slightly more analog feel but still offering a lot of detail.
In order to save shooting time, most of the film was shot with three focal lengths: 16mm, 50mm, and 125mm. We also use 75mm a lot.
The two feature films were made on vastly different scales. But by making sure the camera selection, lens selection, and crew were all consistent, I was able to shoot roughly the same number of pages every day.
Balancing camera and actors
Great acting is the most important element in any narrative film.
Everything we’ve discussed so far will help you free up more time and energy to work with your talent.
But even if you choose the perfect camera for your production, you know it inside out, and you have a great crew – there will still be challenges on set. Unless you plan accordingly…
During preparation, I highly recommend meeting with the actors for rehearsals.
Even a day of rehearsals can go a long way in ensuring that you and your actors are on the same page. This can reduce a lot of back-and-forth on set and give actors a chance to excel.
On set, before each scene, your DP brain shuts down for 10 minutes to allow for simple directing. You can use this time to discuss the scene with the actors. Stop it. Rehearse and then let them rest for a few minutes while you set up the camera.
I discuss this workflow more this post.
Regarding camera operation – I find it easy to watch a show if the camera is on a tripod. Even with some pan/tilt, or slightly complex movements.
That said, I find it harder to balance things when shooting handheld.
For handheld work, you may want to consider having your first AC or other crew member operate it for you. Especially in long takes of dialogue scenes, you can lose sight of the acting.
It’s important to know how you plan to shoot and anticipate challenges. There are always solutions, but you need to know what you’re dealing with.
focus pull
A big question for first time directors/DPs is how they will handle focus pull.
Ultimately you have 4 choices:
- Works with dedicated first AC
- Manually pull your own focus
- Avoid shifting focus completely
- Use autofocus
A dedicated first AC can certainly act as a focus puller if your production requires it. This clears a lot of mental space and allows you to think more about other directing elements.
The First AC will also ensure that your batteries are always replaced, cards are formatted correctly, and more. If you can bring that into your film, there’s no substitute.
If you really need to focus, you have a few options. The first is to simply pull manually, either with an attached follow focus, or directly from the lens barrel. Personally, I didn’t like this narrative approach because it distracted me from the actors.
When I photograph myself, I often Eliminate focus pull All together.
For example, in my feature film without a crew (disappearing boy), I would block out the scene so that the actor could move in and out of the focal plane. This produced some really nice results and made shooting much easier. But because of this I often have to add coverage and more angles. There are always some trade-offs.
As for autofocus, I’ve never used it on a narrative film, but you certainly can. Of course, some cameras are better than others in this department (namely the Sony). And technology is getting better every year.
That said, there are drawbacks. For starters, you have less control over your shots, and your camera options become very limited.
My advice is to buy your first air conditioner if your production allows it.
If you’re making a super DIY movie without a crew (or first AC), I would generally avoid pulling focus. But I would make exceptions for some scenes where I can pull manually or use autofocus.
Camera stands and accessories
No matter how low your film budget is, there are two things you can’t compromise on:
- a good tripod
- The battery is really good
A bad tripod can cause trouble throughout the day, slow you down dramatically between settings, and require more footage to capture smooth motion. Filmmakers often save money here.
Likewise, low-capacity/low-quality batteries (even V-shaped or Gold Mount batteries) can cause all kinds of problems on set.
Let’s say you’re constantly switching the camera on and off to swap blocks. But even worse, if your camera crashes in the middle of a shoot, all of your footage is at risk of damage.
Definitely don’t take any chances in this department 🙂
Another important consideration is media. I like to have enough media throughout the entire shoot day so we never have to transfer cards on set.
Of course, I would always work with the DIT because it’s better to have backups onsite if possible. But on a smaller production where you’re already wearing multiple hats, there’s no need to risk discarding your material on the fly.
Rich media reduces the possibility of errors. AKA you accidentally formatted a card that didn’t transfer properly and lost a day’s worth of footage.
Summarize
No matter what your level of work is, directing and photographing your own film is entirely possible.
It all comes down to understanding your skill level, resources, and the actual needs of the project. Then choose the right equipment, people and workflows to facilitate this.
Over the past few years, I would find myself overwhelmed when trying to play both roles. For a while, I wasn’t sure if I would do it again.
But after more trial and error, I’ve found that not only does this way of working work, it’s often preferable.
The last two films I made were some of the smoothest productions I’ve ever been a part of. If nothing else, they showed me that I could direct and photograph without unnecessary pressure. Done in the right way, doing so doesn’t hurt the performance or visuals, but rather enhances them.
Directing and DP is certainly not for everyone, but it never hurts to try for those who are considering it.
You may find that it doesn’t work for you. Or it might unleash your creativity in a whole new way.
Have you ever made a film yourself? Please leave a comment below and let us know about your experience…
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