As a DP that shoots a lot of comedy you seem to create a lot of different atmospheres and evoke a lot of different feelings through your work that aren’t typical of flat comedy lighting. Can you speak to that a bit? Does the studio ever try to control that based on current trends etc?
I try and let each individual project I shoot take on it’s own unique look that is guided by the story and genre. I’m typically not a big fan of flat comedy lighting, so even when I shoot something a little brighter or “high key”, I’ll try and give it a little contrast and shape. I also tend to gravitate towards a naturalistic lighting style. Often when starting the project, the Director and or producers will have a certain look or feel in mind for the project. I do my best to translate their vision into an image and lend suggestions on ways to enhance it.
Is there a typical way that you like to collaborate with a director during pre-pro?
I love pre-production. The chance to get into the Director’s and the Creator’s heads about the project is vital to success. I’ll often ask many questions and sometimes ask them again in different ways to better understand what it is they want to convey with the story. Any visual references I can get are extremely helpful. The Director and I will usually work on a shot list and try and find ways to enhance certain moments with the camera as well as figuring out the most efficient and/ or effective ways to cover the scenes.
Do you have a routine to get into a creative mindset? Or is there a place you go to get into a creative head space?
I don’t really have a routine necessarily. Finding music that works with the feeling of the story or listening to music that the director is thinking of for the project helps. Watching movies and shows that we are drawing from creatively helps as well. Doing physical activities that I enjoy like hiking or surfing also help open my mind up.
Do you have a way of organizing your ideas (not just conceptually but practically [use of software etc..])?
A paper and pencil are my most useful tools for planning. I’ll often write out shotlists in my scripts and draw overhead plans for scenes as well.
Do you think it’s important for DP’s to define a style of their own?
Absolutely, follow your instincts. Mimicking someone else’s work or style doesn’t really work so well. Put your own touches and soul into your projects.
What is the process and considerations when deciding whether or not to frame for 1.78 or 2.40? Or any other aspect ratio for that matter.
There’s many things to think about when choosing an aspect ratio. Where will the project be viewed (theater, tv screen, etc.)? What type of sets or locations will be photographed? If there are many tall buildings or tall things you wish to be in frame, then perhaps 2.40 is not the right aspect ratio. Or if many shots contain several characters, or there are ceilings you wish to avoid in your frame, then 2.40 could be quite helpful. Each aspect ratio lends itself to a certain feeling for the image that should be taken into consideration as well. If the project is set in a certain time period, that could also influence your decision.
I’ve heard people say that “making it” in the film industry is 10% about technical knowhow and 90% about being a people person. What do you think about that?
I think that has quite a bit of validity to it. Obviously technical knowhow is important, but it’s much more pleasurable to work with people with good attitudes and friendly, or entertaining personalities for long hours everyday.
Do you think it’s important for DP’s to own their own gear when they’re just starting out? Is that a competitive advantage in LA?
I don’t think owning your own gear is a must, but I think it certainly helps in the beginning at least. I didn’t own any gear when I was starting out, but I wish I had. You will often be using your gear and service for little to no money, but it will help you practice your craft and make connections along the way hopefully. It certainly makes it easier.
What is your biggest creative obstacle?
For me, efficiency is a key component in how I work. Sometimes, however, the most efficient way to light something or shoot it isn’t the right choice for the shot or scene. There are moments when I must put my logic and tendencies aside and do what may be more difficult or time consuming, and better contributes to the project and story.
Has technology changed the way you work in the past 10 years?
Definitely. The low light capabilities of cameras and LED technology in lighting are absolute game changers. Adjustments on-the-fly are so much faster and simpler.
How does living in LA impact or influence your career and well being? Is it important to be there?
I’ve been in LA since 2003, so it’s definitely home to me at this point. Besides the easy weather (I do miss having real seasons), I love being at the ocean and having the city, the mountains and the desert within a short drive. I think for a DP, it’s great to be in LA and have easy access to the studios and people who are making the content. Meeting face to face probably helps a bit I imagine. It seems like no matter where you live, you’re likely to travel for work fairly often these days.
Do you have a mantra you live by?
Several. Happiness is a frame of mind. Less is more. Live simply. ‘Lotta good mantras out there!
Do you have any interest in going to Mars?
Sure. Space is the place! I have a lot of exploring on Earth to do first though.