Cinematography for Directors. Jacqueline Frost
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Copyediting by Ross Plotkin
Interior design by William Morosi
Printed by Sheridan
Manufactured in the United States of America
Copyright © 2009, 2020 by Jacqueline B. Frost
First Printing 2009
All rights reserved. No part of this book may be reproduced in any form or by any means without permission in writing from the author, except for the inclusion of brief quotations in a review.
Library of Congress Cataloging-in-Publication Data
Names: Frost, Jacqueline B., author.
Title: Cinematography for directors : a guide for creative collaboration / by Jacqueline Frost.
Description: Second edition. | Studio City, CA : Michael Wiese Productions, [2020] | Summary: “The essential handbook for directors and aspiring filmmakers who want to get the best visuals for their films while establishing a collaborative relationship with their cinematographer. This is the only book that focuses exclusively on the relationship between the director and cinematographer”--Provided by publisher.
Identifiers: LCCN 2019047154 | ISBN 9781615932740 (trade paperback)
Subjects: LCSH: Cinematography. | Motion pictures--Production and direction.
Classification: LCC TR850 .F76 2020 | DDC 777--dc23
LC record available at https://lccn.loc.gov/2019047154
Printed on Recycled Stock
CONTENTS
The Director and Cinematographer: Creative Collaborators
The Cinematographer and the Script
Genre Films and Lighting for Genre
The Tools and Aesthetics of Movement
A History of Creative Collaborators
ACKNOWLEDGMENTS
I would not have been able to write this book without the support and cooperation of the American Society of Cinematographers. I would like to especially thank the members of the ASC who took the time to speak with me; their information was insightful, educational, and inspiring. It was a pleasure and an honor for me to meet with all of you.
Thank you, Rodrigo Prieto, ASC, Richard Crudo, ASC, Matthew Libatique, ASC, John Seale, ASC, Nancy Schrieber, ASC, Roger Deakins, ASC, Seamus McGarvey, ASC, Amy Vincent, ASC, John Lindley, ASC, Dante Spinotti, ASC, Robert Elswit, ASC, Sandi Sissel, ASC, Harris Savides, ASC, Michael Bonvillain, ASC, Daniel Pearl, ASC, and John Bailey, ASC.
Thank you to Patty Armacost at the ASC for assisting me in contacting these cinematographers.
I would also like to thank Donald Petrie, DGA and Michael Apted, DGA for taking the time to meet with me and provide the directors perspective on working with a cinematographer.
A special thank you to Raquel Cecilia, with whom I continue to collaborate. I appreciate your technical and emotional support always! I have the utmost respect for you as a filmmaker and storyteller, I will always be here to assist you in whatever way possible just as you have for me.
Thank you, Nancy Kirhoffer, for taking the time to fill me in on updated post-production practices.
Thank you, Nathan McGuire, for always being available to assist with valuable technical information.
I must also thank Mick Hurbis-Cherrier, who inspired me to update my book as quickly as possible and for introducing me to Gustavo Mercado whose beautiful book, The Filmmaker’s Eye, was an inspiration.
I would also like to thank my precious Anabella for understanding that it takes a lot of time to write a book. Sorry I missed out on more time with you!
And finally, a big thank you to Michael Wiese and Ken Lee for believing in this project and allowing me the time to pull this all together. I appreciate your understanding, patience, and support.
INTRODUCTION
Since the publication of the first edition of Cinematography for Directors, the motion-picture industry has shifted into a predominantly digital domain. Filmmakers have had to adjust to the changes in technology to continue to master their craft, but the essence of the craft remains the translation of storytelling from script to screen.
The cinematographer’s job has shifted from being the only one on set who really knew what the final product would look like to having everyone on set voicing their opinion on how light or dark the image should be. Digital capture has provided many advantages to the creation of the image, and certainly through the completion process now allows the world of special effects to reach previously unimaginable outcomes.
But there are still a few that are nostalgic for the film process, which is why I kept that section