{"id":8131,"date":"2018-09-20T13:48:12","date_gmt":"2018-09-20T20:48:12","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=8131"},"modified":"2020-10-15T16:50:15","modified_gmt":"2020-10-15T23:50:15","slug":"words-to-film-by","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/words-to-film-by\/","title":{"rendered":"Words To Film By"},"content":{"rendered":"

 <\/p>\n

\"\"<\/a>
David Stragmeister, DP,\u00a0Intergalactic Samurai<\/em><\/strong><\/figcaption><\/figure>\n

Here’s What The 2018\u00a0Emerging Cinematographer Award Honorees\u00a0<\/strong>Have To Say About…Everything!<\/strong><\/p>\n

by Margot Lester \/ Photos Courtesy of ECA Honorees\u00a0<\/strong><\/p>\n

Writing is more like filmmaking than you may think. One of the more striking similarities is how much gets left on the cutting-room floor. While cinematographers shoot way more frames than can ever be used, with great imagery that doesn\u2019t make the final cut, writers ask more questions and get terrific answers that we can\u2019t include, either. Our editors\u2019 pens are just as sharp as your editors\u2019 blades (or computer mice!). This year, we decided to create an editorial reel of sorts to share some of the best quotes that didn\u2019t make it into the ECA profiles produced for the magazine. So without further ado…<\/p>\n

Sources of Inspiration<\/strong><\/p>\n

\u201cI feel cinematography is more similar to music than to painting. It\u2019s rhythmic and has a cadence.\u00a0The lenses we choose, the lighting we implement, and the way the camera moves create the symphony.\u201d<\/p>\n

Hunter Robert Baker, DP, Peacock Killer<\/em>\u00a0<\/em><\/p>\n

\u201cI always go through the works of photographers and filmmakers I admire for inspiration. That includes OG cinematographers and many of the young guys whose work is always pushing the envelope.\u201d<\/p>\n

Tommy Daguanno, DP, Detroit Diamond<\/em><\/p>\n

\"Tommy
Tommy Daguanno on location for Detroit Diamond<\/em><\/strong><\/figcaption><\/figure>\n

\u201cI find inspiration in paintings. I like to think about Vermeer and Caravaggio as being some of the great cinematographers of their time. They didn\u2019t just create images, they told stories with their images. However, I connect more to impressionism and abstraction. Monet, Basquiat and Picasso are some of my favorites. I like to think about what their films would have looked like if they were cinematographers.\u201d<\/p>\n

Drew Dawson, DP, Demon<\/em><\/p>\n

\"Demon
Demon<\/em><\/strong>\u00a0\/ DP Drew Dawson<\/figcaption><\/figure>\n

\u201c<\/em>I\u2019m inspired on a daily basis by people I follow on Instagram\u2026some are filmmakers or artists or musicians or just friends\u2026all sharing their perspectives of the world. I go to photo exhibits as often as I can, and my wife works in the art world, so we go to see shows that she hears about\u2026to me there is nothing like being in the same room with someone\u2019s creative expression.\u201d<\/p>\n

Clifford Jones, DP, Baby Steps<\/em><\/p>\n

\u201cGenerally, I first ask my director for visual pieces that inspire him or her \u2013 either frame grabs or entire films. From there, I dive a bit deeper into their references, and then find ways to create\u00a0that style or look with the resources that I have while also adding my own personal touch.\u201d<\/p>\n

Alicia Robbins, SOC; DP, Internet Gangsters<\/em><\/p>\n

\"Alicia
Alicia Robbins, SOC<\/figcaption><\/figure>\n

\u201c<\/em>I normally go to still photography, film stills, or other films for reference. Getting on the same page with your director about where the inspiration for the aesthetic comes from is certainly one of the most important aspects of your working relationship.\u201d<\/p>\n

Gus Sacks, DP, Embalmer<\/em><\/p>\n

\"Embalmer
Embalmer<\/em><\/strong> \/ DP Gus Sacks<\/figcaption><\/figure>\n

Go-To Gear<\/strong><\/p>\n

\u201cLenses are the real instruments of our craft. You can perform on a piano or violin; however, if you play the same piece of music on an electric guitar, you might discover an entirely different feeling. For my work, I turn to vintage Panavision glass.\u201d<\/p>\n

Hunter Robert Baker<\/p>\n

\"Peacock
Peacock Killer<\/em><\/strong> \/ DP Hunter Robert Baker<\/figcaption><\/figure>\n

\u201cI love my Odyssey7Q. I have gotten used to exposing with its waveform and other tools, and when I am shooting for projects whose budgets can\u2019t afford a proper DIT, I find it\u2019s the best way for me to stay consistent.”<\/p>\n

T. Acton Fitzgerald, DP, Intrusions<\/em><\/p>\n

\"Intrusions
Intrusions<\/strong><\/em> \/ DP T. Acton Fitzgerald<\/figcaption><\/figure>\n

\u201cI guess for me it\u2019s an EasyRig. I\u2019m a tall guy at 6 foot, 5 inches \u2013 keeping eye-level or below handheld shots for days would be painful. And I truly love operating the camera, being with the action and the actors, and feeling the scene while shooting.\u201d<\/p>\n

Martin Moody, DP Goldblooded<\/em><\/p>\n

\"Martin
Martin Moody \/ Photo Courtesy of Tom Botchii<\/figcaption><\/figure>\n

\u201cMy Flanders Scientific DM170 monitor and Artemis Pro app.\u201d<\/p>\n

Gus Sacks<\/p>\n

\"Gus
Gus Sacks<\/figcaption><\/figure>\n

\u201cI don’t think that there is such thing, but if I had to pick something it would be a Cinesaddle or any DIY variation of it. It allows me to quickly get the camera into otherwise difficult placements and provides an excellent elbow rest for handheld work.\u201d<\/p>\n

David Stragmeister, DP, Intergalactic Samurai<\/em><\/p>\n

Advice for Up-and-Comers<\/strong><\/p>\n

\u201cBuild your network early and make sure they are as like-minded as possible.\u201d<\/p>\n

Tommy Daguanno<\/p>\n

\u201cTake as much advice from as many people as possible. Listen to what people have to say, and understand that everybody has a different communication style, so you have to listen with more than just your ears. However, at the end of the day, trust your gut! Empower yourself to be great, and do not disrespect yourself by being derivative.\u201d<\/p>\n

Drew Dawson<\/p>\n

\u201cMy advice to young artists would be to get out there and just do your art. You will get a lot further, a lot faster, if you just worry about doing the best you can do with whatever resources you do have. Don\u2019t worry about what you don\u2019t have. Also, always seek advice from people who are willing to give you honest feedback and try to collaborate with those people.\u201d<\/p>\n

T.\u00a0Acton Fitzgerald<\/p>\n

\"T.
T. Acton Fitzgerald<\/figcaption><\/figure>\n

\u201cDon\u2019t be afraid to ask for help along the way. The vast majority of cinematographers that I\u2019ve worked with are happy to share their wisdom and experience with someone who is seeking to improve their craft.\u201d<\/p>\n

Clifford Jones<\/p>\n

\"Clifford
Clifford Jones (center) with cast and creative team for Baby Steps<\/em><\/strong> \/ Photo Courtesy of Karen Steyr Randolph<\/figcaption><\/figure>\n

\u201cCollaborate. Communicate. Give it your all. Sounds simple, but it\u2019s hard to find. Being able to make a movie is an amazing opportunity on any level. Do not waste other people\u2019s \u2013 or your own \u2013 time.\u201d<\/p>\n

Martin Moody<\/p>\n

\"Goldblooded
Goldblooded<\/em><\/strong> \/ DP Martin Moody<\/figcaption><\/figure>\n

\u201cPay attention on set. You should treat every job as if it\u2019s the greatest job in the world, because someone is always watching and taking note of your work ethic. You\u2019d be surprised where your opportunities can come from, so be present, be attentive, and work hard at every\u00a0<\/em>job you do.\u201d<\/p>\n

Alicia Robbins, SOC<\/p>\n

\"Internet
Internet Gangsters<\/em><\/strong> \/ DP Alicia Robbins, SOC<\/figcaption><\/figure>\n

\u201cA friend once told me that you are the curator of your work. I think it\u2019s very true. Live simply so that you can be selective. Find the projects and the collaborations that are right for you.\u201d<\/p>\n

David Stragmeister<\/p>\n

\"Intergalactic
Intergalactic Samurai<\/em><\/strong>\u00a0\/ DP David Stragmeister<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

  Here’s What The 2018\u00a0Emerging Cinematographer Award Honorees\u00a0Have To Say About…Everything! by Margot Lester \/ Photos Courtesy of ECA Honorees\u00a0 Writing is more like filmmaking than you may think. One of the more striking similarities is how much gets left on the cutting-room floor. While cinematographers shoot way more frames than can ever be used, with great imagery that doesn\u2019t make the final cut, writers ask more questions and get terrific answers that we can\u2019t include, either. Our editors\u2019 pens […]<\/p>\n","protected":false},"author":2,"featured_media":8132,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-8131","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nWords To Film By - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/words-to-film-by\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Words To Film By - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"  Here’s What The 2018\u00a0Emerging Cinematographer Award Honorees\u00a0Have To Say About…Everything! by Margot Lester \/ Photos Courtesy of ECA Honorees\u00a0 Writing is more like filmmaking than you may think. 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