E. Gustavo Petersen's Lounge Discussions

Welcome to this great community, Gustavo. Hope to see you on the lounges.

Excellent points, especially number 7.

Patrick, the bargain-bin stinker that almost cost me a gig was the 20th Century Fox direct to video release SNITCH'D ... 2003 I think. It was Eva Longoria's first feature; we shot it in the late 90's and when she blew up, it got released. It gets no less stinky with time.. if they had MST 3000 for gangster flicks, it would be on there ;)

Andrew, we will have to agree to disagree. Some of the points you make actually confirm my points. The mere cutting of a DP reel deviates the footage from the filmmaker's original intention. While there are plenty of do-it-all filmmakers, you will not find most of them cutting DP reels, and I am talking about DP reels here , NOT editing reels. NOT directing reels, NOT acting reels. Rhythmic editing, emotional music mix... tell me nothing about a DP other than he can hire a good editor. Multi camera, live concert footage - maybe. Not for narrative. And as I stated, commercials and music video reels are NOT what I am talking about. If you think it's rude to turn the sound off I can only chuckle and shake my head... how often do people sit and look at footage and discuss it with the sound off or inaudible ? it's idealistic and naive to think " all due respect" is afforded an artist's samples. Actor, musician, DP...get real. I would bet most reels are first viewed on smartphones in 2014. That's how I view them.

Good advice. I am guilty of cutting to music and only putting in snippets of the best shots, (though I do strive to put in a variety) which has actually gotten me the criticism that my reel looks like a series of Cosmo layouts. I do, however, direct potential clients to my website where I have links to films that they can watch in their entirety. I will recut it along the lines of your advice and see what happens.

Royce, these are opinions, as such it is easy for there to be many approaches. If there was one “right” way, it would be very easy. I’m curious, given your opinion, do you have music on your reels? While I understand if the audio is there the viewer can turn it off, but if the reel is better viewed with the audio off why offer a lesser method of viewing? The rest of it sounds like a good discussion to have over a beer sometime.

I operate on a very, very small level (just graduated recently), but so far I like operating the camera. Without sounding egotistical, I trust my ability to get the shots I want to see, and I feel like the less I have to explain myself on a single camera shoot, the more efficient things are. Like E. said though, if you're talking a multi-camera set up, I can only imagine how tricky things become. In a small, well controlled environment , I don't see any problem with the cinematographer running camera, assuming they're capable and willing. I'd personally love to do both on a larger scale one day.

A good DP can communicate what he wants to see in every shot very simply and a good operator can see the lighting set up and pick up on the great images provided making it a seamless image. I have done DP/Operator work on a lot of small indie stuff, but I would rather work under a great DP and just operate the camera and collaborate on shots with the DP and Director. Just my thoughts.

I have to admit I would love to work with a talented operator, I think it would give (depending on the project obviously) a great angle having a fresh pair of eyes slightly more disconnected to the project than the director.

I do both. There are times when you just have to operate yourself. A lot of indie low budget stuff, would not hire a competent op. On bigger stuff, you get better talent, and can focus on the over atheistic without focusing on the move itself. Having an op does allow for seeing the bigger picture better.

I have done photography for nearly 30 yrs now and enjoy operating the camera. However, I DP a lot of multi-camera shoots and there I have to rely on good photographers to operate those cameras. It is more important to me as DP that the operator is a good photographer more so than someone who knows the specific camera being used,