Visual Effects Cinematography

 

January 22, 2015

 

By Jesse Mickle

 

If you're reading this you are likely familiar with the term 'Visual Effects Cinematography' (VFX Cinematography). In case you aren't, here is a quick overview of the what, why, and how of VFX Cinematography.

 

Traditionally, the job of the cinematographer was to light the set/location and to shoot the footage (European Cinematographers usually operate the cameras themselves, whereas American cinematographer tend to light the set and have an operator work the camera*).  And if there are visual effects in the film, a visual/special effects company is hired to take charge of the subsequent visual or special effects, oftentimes independently of the principal photography. On a big-budget film, a visual effects studio (or several) is hired to take care of the VFX for the film, with a Visual Effects Supervisor on the set. 

 

*Note: This, of course, doesn't mean the operator decides the framing. That remains the cinematographer's, or ideally the director's, prerogative.

 

The core dynamic of this process has not changed, but with the advent of digital cinema and lower and lower budgets for filming, it has become increasingly common to employ a smaller crew while trying to keep a high-budget look. With the necessary tools being much more widely available, many specializations in numerous fields have begun to open up, as opposed to the one or two of days past.

 

As a result of all these changes, it is more and more important for the cinematographer not only to have a handle on how to shoot for visual effects, but in many cases to directly supervise the set to ensure the footage can be worked with properly in post.  This is essentially part of the VFX Supervisor's job.

 

Why should a cinematographer crossover into VFX supervision?

 

Well, it's pretty obvious. With the amount of VFX being employed in even the most common, indie film dramas. VFX work becomes more and more an integral set of tools for the cinematographer to hone.

 

It is, of course, possible to shoot a feature film/music video/commercial without visual effects but that happens very rarely these days.

 

So. Now we can get into the 'how' of Visual Effects Cinematography. The fun part.

 

Throughout my career, I've encountered numerous Directors of Photography who refuse to work with visual effects, standing by 'in camera' results (much the same as those who swear by film vs digital. ... but we won't go there now.)

 

The truth is, unless these DOPs can somehow pull together an additional budget to safely detonate their local library (without damaging the building), or make the hardly visible moon out of a window 10x larger, they quickly find themselves in a position where available projects aren't to their taste or, worse, are actually beyond their abilities.

 

So. Visual Effects Cinematography.

Let's set the record straight. ...

We are not 'fixing it in post'. And I'll say that again.

WE ARE NOT FIXING IT IN POST (I know, that's supposed to be a 'yell', and maybe I should repeat it, but I think you get the picture).

We don't do fixing in post vfx. That's not what VFX are about.

Too many times have I been approached to 'fix' or 'change' something in a film/mtv/commercial/documentary/etc, which usually means make something better or 'alter' a mistake - aka 'fix'.

And, although you're getting paid for it or doing it to build your skills -  so, why not? - this is definitively not VFX Cinematography.

 

What it is is 'shooting for effect'.

 

Which is essentially knowing what you want to shoot, planning, and executing. Then taking it into post, where you see it through to the finished result.  This, again, means the cinematographer has control over the image. The final outcome. Not the cut of the film, of course, but the final outcome of the shot.

 

This is particularly useful (I wont say 'solely useful') in indie film productions where less is more: Smaller crews, greater expertise (believe it or not!) and doing more with less of a budget.

 

So, there is no real 1, 2, 3 of VFX Cinematography.

There are key ingredients that I will cover in this blog, but for the most part, scenarios will vary greatly from one case to the next.

The trick that helped you get the right shot in one situation will likely be of no use in the next.

 

But we can say there are some 'key ingredients' - those essential things that make up VFX Cinematography.

These are like basic cooking ingredients, which you then mix and match to taste and, most importantly, need to get the job done.

The need is another aspect that merits comment: 'What the client wants' on one hand versus 'what makes sense for the story,' on the other.

Few things look worse than overdone VFX.  We're not trying to shoot a video game (or are we?)

Then, we'll be covering real examples.

Films I've shot, situations I've been in. 

Some will be very easy, others, quite elaborate. 

The goal. To share the knowledge, and know-how.

This is by no means an 'exclusive' ability. It's something those of us who are serious about film need to get better and better at. 

The films we watch in the theater depend on it. (depending on which theater you go to, hehehe)

I'm tired of watching badly done VFX.

By this I don't mean I know all there is to know. I do mean that the only way to get the quality of film where it should be is to work harder and smarter, do a better job, learn from others' mistakes, and share the knowledge.

 

So, in an effort to do so.

Welcome to the blog

Visual Effects Cinematography.

 

I will add, if there is anything you would like to see addressed here, please write me and I'll get to it as soon as I can.

Having said that ... This is not meant to cover BTS on popular films (as those are usually thoroughly covered) and the real way to learn is through personal experience. So, unless I work on it, I probably wont cover it.

 

Visual effects have been an integral part of cinema from the beginning. One can say cinema is a 'visual effect' or a 'special effect' (more on this distinction later).