Archiwum
- Index
- Pies Baskervillów Arthur Conan Doyle
- Tasso ValĂŠrie Dziennik nimfomanki
- James P. Hogan The Proteus Operation
- Ed Greenwood Elminster's Daughter
- Hardy Kate śÂšwiatowe śąycie Duo 267 Gwiazda telewizji
- Lyda Morehouse Archangel 03 Messiah Node
- (39) Olszakowski Tomasz Pan samochodzik i... Wynalazek inśźyniera Rychnowskiego
- J. Michael Bishop How to Win the Nobel Prize, An Unexpected Life in Science (2003)
- Frank Herbert Hellstrom's Hive
- Julia Latham League of the Blade 01 Thrill of The Knight
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Cinematographers who work on a freelance basis must a union, such as IATSE, may provide wider access to job
also manage their businesses. They will be responsible for opportunities and employment benefits. Some Cinematog-
purchasing and maintaining all of their photography equip- raphers also secure agents to represent them and to secure
ment and film, advertising and promoting their services, projects.
networking, setting prices and contract terms, invoicing
clients, overseeing accounts receivables and payables, hir-
Advancement Prospects
ing and managing staff, stocking office supplies, fielding
For many, Cinematographer is the top job in the career lad-
phone and e-mail inquiries, and making sure their Web site
der, one achieved only after numerous years of training and
is current and functioning.
working on various projects. Once they have reached a level
of expertise and success in the field, Cinematographers can
Salaries
advance by taking on more complicated projects and being
According to the Department of Labor, Cinematographers
hired for multimillion-dollar projects with higher profiles.
salaries can vary widely, from $14,710 to beyond $65,070,
Cinematographers can broaden their scope and share their
depending upon the employers they work for and the proj- knowledge by teaching at film and liberal arts schools, writ-
ects they work on. Naturally, well-established and success- ing books and articles, and participating in lecture circuits.
ful Cinematographers with excellent reputations in the
They can also advance by delving into other areas of film
industry will command the highest wages, some more than
and television production or by starting their own produc-
$1 million per year. Most Cinematographers are freelance or
tion studios.
union workers (i.e., the International Alliance of Theatrical
Stage Employees, Moving Picture Technicians, Artists and
Education and Training
Allied Crafts of the United States, Its Territories and
Canada, or IATSE). Those who work for major film-produc- A bachelor s degree in cinematography, photography, lib-
eral arts, or film studies is recommended. Coursework in
tion studios with multimillion-dollar budgets often receive
English composition and literature provides essential expo-
higher wages than those who are commissioned by small,
independent studios. Minimum day rates for Cinematogra- sure to narrative development. Cinematographers also learn
the basics of lighting and composition through art and pho-
phers, as established by IATSE, are determined according to
tography courses and camera operation and video produc-
the type of film being shot. Cinematographers earn more for
tion in broadcast journalism and media classes. While not
location shoots ($670 per day) compared to feature film
shoots ($520 per day), with provisions for holiday and over- required, a master s degree in film can further enhance one s
time work. Freelancers need to factor into their yearly earn- career in the industry. The School of Visual Arts in New
York City, New York University, and the University of
ings costs for health insurance and photography equipment,
Southern California are just some of the well-established
both of which they will have to pay for themselves.
schools with acclaimed film and fine arts programs. The
New York Film Academy also offers students an excellent
Employment Prospects
taste of what filmmaking is like through intensive six-week
Cinematography is fiercely competitive. Film and television
courses, in which students create three short films.
production studios, large and small, often seek experienced
Cinematographers with names in the business. This is a hard
Experience, Skills, and Personality Traits
field to enter, and any foot in the door, whether by volunteer
work or as an intern, is considered a good start. The Occu- Film and television production studios usually require Cine-
pational Outlook Handbook predicts that employment of matographers to have at least several film projects under
Cinematographers will grow about as fast as the average, or their belts, working as camera operators, assistant cine-
by 10 to 20 percent, for all occupations through 2012. The matographers, or Cinematographers. Successful Cinematog-
entertainment market, particularly motion-picture produc- raphers are artistic and creative, with strong hand-eye
tion and distribution, is expected to continue expanding, coordination and the ability to intuit the best ways to trans-
28 CAREER OPPORTUNITIES IN PHOTOGRAPHY
late a script visually. They have strong communication and postings at your school, on your city s film commis-
management skills and are able to juggle tasks and meet sion Web site, or directly at the studios with whom
deadlines. Long days and hours may be required, so they you re interested in working. You ll get on-the-job
must have stamina and a certain degree of physical fitness. training and valuable connections to other crew mem-
Freelance Cinematographers need to be entrepreneurial to bers for future networking and job referrals.
survive in the industry. They must know how to manage 2. The best entry into this field is via the film-festival
every aspect of their businesses, including creating and nego- route. Create a short film and submit it to a festival.
tiating contracts, securing permissions and releases, sending
One industry expert says that if your film is shown
out invoices and paying bills, maintaining camera and office
and receives recognition, you ll have both of your feet
equipment, and more. Cinematographers must also stay curi-
in the door.
ous and up-to-date on what s going on in the field. Technol-
3. Study the various filmmaking styles that are out there
ogy changes constantly, and they need to stay tuned into the
by watching great films. Rebecca (1940, George
newest developments and train in the latest creations. Cine-
Barnes), The Diary of Anne Frank (1959, William C.
matographers must be technically savvy and extremely com-
Mellor), Close Encounters of the Third Kind (1977,
fortable with the technology. The job requires patience,
Vilmos Zsigmond), Apocalypse Now (1979, Vittorio
flexibility, diplomacy, the ability to work in all conditions,
Storaro), Schindler s List (1993, Janusz Kaminski),
both inside and outside, and solid leadership skills.
Titanic (1997, Russell Carpenter), and The Lord of the
Rings: The Fellowship of the Ring (2001, Andrew
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