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Videographer? DOP? Content Creator??



DOP Stephen Melling, Gaffer Rufai Ajala, director Steve Briggs
DOP Stephen Melling, Gaffer Rufai Ajala, director Steve Briggs

I get that this can be confusing. I'll admit I still get confused at what seem to be different names for the same job role. Cameraman (Camera Operator - PC version), Director of Photography, Videographer, Cinematographer, Lighting Camera Operator, Content Creator, Filmmaker, etc etc. But do they all do the same thing?!


Lets start with some definitions.


CINEMATOGRAPHER



Okay, seems straight forward enough. This term isn't used much in the circles I operate in, but maybe that's because I'm not working on feature films (yet).


DIRECTOR OF PHOTOGRAPHY


  • A director of photography (DP or DoP) is responsible for the visual style of a film or television production. They work closely with the director to ensure that the final product matches the director's vision. 


Personally I do call myself a director of photography. However there is a caveat. I'm only a DOP when I have photographic crew to direct, and a director to work with. So if I have a gaffer, best boy, spark etc working with me - I am technically their head of department - therefore I am a Director of Photography. If I don't and it is just me, or just me and a trusted assistant camera doing the lighting - then I'd go with Lighting Camera Operator.


VIDEOGRAPHER


  • A person who records images or events using a video camera. 


There is something about this term that sends a shiver up my spine. Technically we are all videographers, right? The definition is pretty vague. When people ask "are you a videographer?" - I shudder, and say "...yes, kind of." - because I know that most people don't know the differences. But also how twatty would it sound if I returned with "no darling, I'm a DOP". When I hear the word videographer I imagine a wedding videographer, running around trying to do 10 jobs at the same time and not doing any of them amazingly well, but getting some 'cool' shots all the same. I've nothing against anyone that does call themself a videographer by the way, I've been there, done that, got the T-shirt.


CONTENT CREATOR


  • A content creator is someone who produces content for digital distribution, such as on the internet or other platforms. Content creators can work in a variety of roles, including writer, blogger, vlogger, podcaster, and social media influencer. 


A videographer with a twist - someone who calls themselves a content creator are probably over-worked, under-paid and had way too much screen time. So give them some room and maybe buy them a coffee and ask if they are okay.


FILMMAKER


  • a person (such as a director or producer) who makes movies.


Most of us in this industry in jobs such as mine are working on a little side project short film that makes us a temporary director, or producer. That's fine. It's not my main role day to day so its not a term I'd use. But we are all here to make movies yah?



SO, if you are a producer or an account manager or whoever trying to look for someone to film your shit. Now you know what to look for. Ciao Ciao!






#VirtualProduction #Cinematography #Filmmaking

đŸŽ„ Exploring the Future of Cinematography: Virtual Production's Impact 🚀


As a cinematographer, I've always believed in the power of visual storytelling. The emergence of virtual production has not just piqued my interest but fundamentally reshaped the landscape of how we craft narratives.


Virtual production isn't merely about special effects. It's a dynamic fusion of artistry and technology, revolutionising the way we capture and convey stories. The ability to blend physical sets with digital environments in real-time is a game-changer for directors of photography (DOPs).





🌐 The Marriage of Creativity and Technology 🎹


The collaboration between DOPs and virtual production extends far beyond mastering new tools. It's about leveraging technology to amplify creativity. We're painting with a broader palette, sculpting immersive worlds that enhance storytelling.


It's invigorating to be at the forefront of emerging technology. For instance, Sony recently introduced a groundbreaking plugin enabling the integration of a Sony Venice camera into Unreal Engine virtually. This advancement allows for real-time visualisation of the camera's perspective, facilitating precise replication of settings on set. The days of approximations like "close enough" are replaced by a new standard of accuracy where the focus is on achieving correctness in every detail.


💡 Lighting and Virtual Environments 💡


One might think lighting in virtual production loses its essence. But the truth is, it's more crucial than ever. As a DOP, I'm adapting traditional lighting techniques to complement and enhance virtual environments, ensuring that every scene resonates authentically.


🎬 Redefining Collaboration and Efficiency 🌟


Working within a virtual environment has redefined collaboration on set. Directors, cinematographers, and VFX artists as well as game designers and world makers are merging their expertise in real-time, fostering a synergy that streamlines the creative process and forges new relationships between industries.


🚀 The Future of Cinematic Innovation 🌌


Virtual production isn't just a trend; it's a paradigm shift. It's empowering us to push the boundaries of cinematic innovation, offering unprecedented avenues to captivate audiences and evoke emotions.


The journey of a cinematographer in this era of virtual production is both thrilling and transformative. Embracing these technological advancements while honoring the essence of visual storytelling is where the magic truly unfolds. Here's to the ever-evolving artistry behind the lens!


By Stephen Melling


Stephen Melling boasts a decade-long tenure as a British director of photography, specialising in a diverse array of visual storytelling encompassing TV commercials, branded content, music videos, and documentary productions.


#DirectorofPhotographyInsights

Shark's Cinematic Dive into Hairdryers



Shark's Innovative Lighting Techniques for Hairdryer Campaigns,
Shark Hair Dryer Frame

Shark's foray into the hairdryer market was distinguished by a series of commercial and demo-style films. Collaborating closely with Shark's internal marketing team, my focus as the Director of Photography was to conceptualise various lighting approaches. A pivotal decision centered around the choice between utilising colored background cloth/paper or employing colored lights on a white cove.


After deliberation, the decision leaned towards employing lighting to generate the colored background for its adaptability. This led us to deploy two Skypanel S-120 LED lights, renowned for their precision in producing specific hues at a moment's notice.

For the primary light source, versatility was key, prompting the selection of an Arri T24 (24,000w) for a large soft key light. This was deftly bounced into a 12x12 frame and diffused through an additional 12x12 frame, ensuring an expansive and uniformly diffused key light.


To enhance depth and dimensionality, a three-quarter backlight from a T12 was employed, complemented by a standby bounced T12 to serve as a fill light. A dedo light, mounted on a boom arm positioned directly behind the model, functioned as a meticulous hair light. Furthermore, a substantial ring light proved instrumental in creating captivating catchlights in the model's eyes during close-up shots.







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