“A Cinematographer is a visual psychiatrist, moving an audience through a movie… Making them think the way you want them to think, painting pictures in the dark.” — Legendary Cinematographer Gordon Willis (The Godfather, All the President’s Men, Annie Hall)

To learn more about becoming a working Cinematographer, we talked to:

• Adrian Peng Correia (The Flight Attendant, Ramy, GLOW)
• Leland Krane (Sugar Plum Twist, Pope: The Most Powerful Man in History, Over My Dead Body)
• Nicholas Matthews (Music videos for Ice Cube, Rise Against, and Thrice)
• Sandi Sissel (Karaoke Girl, Meet the Browns, The Good Fight)

The logistics of a Cinematographer’s position come down to the fundamentals of film production: pre-production, principal photography, and post-production. The film is essentially conceived three times and it’s the Cinematographer’s job to help shepherd the project through the first two stages and then provide input on the final one.

Pre-production involves strategizing with the Director, getting inside their mind, and figuring out how to craft something that fulfills their interests and wants, even if it’s in unexpected ways. Much of this is listening and taking notes before making suggestions. It’s getting to know the box before it’s possible to step outside of it. Therefore, these in-depth artistic conversations are integral to making decisions later in the process.

The next step is to scout locations with the other department heads and begin to analyze what the potential problems may be. From there, the Cinematographer collaborates with the Director on making a shot list and storyboards that convey the style and structure of the film.

How exactly do you go about creating a career as a Cinematographer? This video explains.

They also depict the color palette, lighting, and camera movement. Most aesthetic ideas are mulled over until production is ready to begin. The other responsibilities of pre-production for a Cinematographer are to work with the Camera, Lighting, and Grip Departments to get the proper gear.

Production is all about management. It’s all about determining what the shooting order is and figuring out how to best collaborate with other department heads. It’s also about staying connected to the moment being capturing and not getting too far ahead or stuck in the past.

Compromises will always have to be made so a lot of the job is looking at the day and realizing what is vital to capture. The easiest way to communicate with the Grip and Electric teams is through making lighting plots and revising them as necessary. It’s the Cinematographer’s job to make sure every shot is usable and flag them when they’re not.

During post-production, in the interim before color correction begins, the Cinematographer reviews images and tries to imagine what they should become. Sometimes creative ideas shot during production will change in the edit so it’s crucial to remain flexible. When it comes time to color the footage, a lot of it is out of the Cinematographer’s control, but it’s important to be present and give creative ideas.

What a Cinematographer earns will depend on their level of experience and the nature of the job. For example, a Cinematographer working on a feature film will certainly earn more for their time and talent than a Cinematographer working on a short film or commercial.

Currently, the national average salary for a Cinematographer is $45,353.

Cinematographers working on indie or low-budget projects will also earn less than those working for established production companies. At the top of the hierarchy are the Cinematographers who work on studio films or network television shows.

Cinematographers who have achieved this level of success are generally part of the International Cinematographers Guild, which likewise helps to determine base rates for its members.

It’s important to keep in mind that due to the ebb and flow nature of the entertainment industry, a Cinematographer may go weeks or months without a job. As a result, those seeking a career in cinematography must learn how to budget for those times when they might not be bringing in much or any income.

Hey, what do you think about trying our new Film Career HelperFilm Career Helper really quick? It’s totally free and could help get your career moving fast! Give it a try. It’s totally free and you have nothing to lose.

A great Cinematographer will always be in demand. And as many longtime Director-Cinematographer collaborations can attest – think Steven Spielberg and Janusz Kaminski or Wes Anderson and Robert D. Yeoman – consistent work can happen for those who find the right collaborative fit.

That being said, like many other specialties in the entertainment industry, most Cinematographers simply go where the jobs are and may collaborate with a Director only once and never work with them ever again.

Outside of the rare circumstance where a Cinematographer may work exclusively in-house at a production or commercial company, those who pursue this field are freelancers. That also means that the hours and length of days for a given job depend on the nature of it. In most cases, the typical day for a US-based Cinematographer will go 12 hours.

Having both the technical and artistic skills central to this line of work is critical for any Cinematographer hoping to enjoy a long and successful career. But before they can show exactly how their expertise can elevate a film or television show, they need to book that job.

What’s the hardest part of becoming a Cinematographer? This professional DP answers this common question.

As a result, a critical part of any Cinematographer’s career is being able to make connections within the industry and continually hustling for that next gig. While having an impressive reel will certainly help a Cinematographer in finding work, they must also be proactive in securing those gigs through the professional relationships they develop and nurture.

That being said, it’s easy to get caught up in the busyness of being a Cinematographer, which is why those in this field recommend being mindful of not letting their profession take over to the detriment of other parts of their lives.

Says Matthews, “It’s important to take time to develop, have a life, and network with filmmakers, even though it doesn’t pay upfront. In the long run, keeping a balance will save a person from burning out and getting stuck in the same level of projects.”

In addition to understanding and bringing to life the emotional and visual aesthetic wanted by the Director for a film or TV show, a Cinematographer must also have very technical expertise, including knowing what kind of camera and lighting gear is needed to achieve that aesthetic.

For this reason, the career path of many Cinematographers begins in film school or photography school. Here is where these emerging technicians and artists can learn what it means to use a particular lens for a shot or how the placement of a light will affect the look of a scene.

That being said, it is possible for aspiring Cinematographers to learn on the job. In such cases, they’ll likely come on board a project as an Intern or Production Assistant and soak in as much as they can while simultaneously carrying out their tasks.

Cinematographer or Director? This video breaks down the advantages of each career.

As someone in this role gains more experience, they might be able to work as part of the Grip or Camera Departments where they will be even more fully immersed in the various aspects that a Cinematographer oversees.

Going to school to become a Cinematographer allows an emerging professional to get their start on student films. But even in the absence of a formal learning institution, those wanting to enter this career can gain expertise on small projects like the student projects of those going to school locally or just short films or web series being shot in the area.

Whether school is part of the equation for an emerging Cinematographer, a significant part of their career path will entail finding as many opportunities as possible to learn and hone their craft.

And don’t forget that it’s never too soon to start developing those professional relationships! As early as college or that first PA position, begin making connections. These are your peers and the individuals who will be coming up through the ranks with you.

As an emerging Cinematographer takes on more responsibility and gains more expertise, they’ll likely be asked to work on bigger and potentially more complicated shoots. They may also find themselves overseeing increasingly bigger Camera, Grip, and Electrical Departments, especially if the day comes when they’re shooting a feature film for a major studio.

From there, many Cinematographers (no matter how long they’ve been in the business) will continually educate themselves on the ever-evolving nature of filmmaking and how to create the images desired by a Director.

As mentioned, Cinematographers are both technicians and artists.

They must have a mastery of various types of cameras and lighting equipment. At the same time, they must understand the more abstract and sometimes ephemeral aspects to filmmaking, such as what emotion they hope to elicit with a single shot or how what is framed in a given shot can help to inform character, tone, plot, or all of the above.

These skills – namely the technical ones – can be learned in school and/or on set. However, because technology is always changing, this aspect to being a Cinematographer is a lifelong one. They must continually read up on and become familiar with the most current advances in cameras and lighting equipment.

What are some basic tips every Cinematographer should know? This video offers a look at cinematography 101.

Those less concrete skills must be somewhat inherent to the sensibilities of a Cinematographer, but much can still be learned simply by watching other films and evaluating how others who came before were able to elicit emotions or create indelible images with a lasting imprint.

It’s this unique combination of skillsets that makes Cinematographers so valuable to a film set. It’s also what makes gaining a considerable amount of experience crucial to developing those skills and becoming a Cinematographer whom studios, production companies, and Directors want to work with.

It’s a common refrain in Hollywood that you don’t really need to go to school to become a professional in any of the specialties such as acting, directing, or screenwriting.

That may be true, but because of the considerable technical skillsets that Cinematographers must have to be successful at their job, emerging professionals should consider some type of formal training to become at least proficient at understanding how the many camera and lighting elements work for a given shot, scene, and film.

Because cinematography is an involved craft, many film schools have programs and majors devoted solely to learning it. If a traditional four-year college or university isn’t an option, aspiring Cinematographers can learn through abbreviated programs such as UCLA Extension or as part of more general filmmaking classes like those given online through MasterClass.

A key benefit of receiving any kind of formal education in cinematography is becoming familiar with essential terms used on the job, such as:

• Aspect ratio
• Bounce it
• Catchlight
• Chimera
• Depth of field
• Dolly
• F-stop
• Last looks
• Martini shot
• Rack focus
• T-stop
• Video village

Looking for some cinematography inspiration? Take a look at these iconic-looking films.

For the person who wants to just learn on the job, they can, but it may (in some instances) take just as much time as earning a traditional degree in cinematography. It takes time and trust as an entry-level professional like a Production Assistant to get someone like the Cinematographer or Camera Operator on set to explain what they’re doing and why.

While going to college or getting gigs as an Intern or Production Assistant can certainly provide a starting point for a career in cinematography, it’s still encouraged that aspiring professionals use their free time to explore with cameras, lighting setups, and small projects to gain additional experience.

The life of a Cinematographer is one where learning and growing is part of the package, which is why those looking to enter this field should take advantage of every possible opportunity to develop their skills.

Matthews notes, “The most valuable online resource is on the forum of legendary Cinematographer Roger Deakins’ (No Country for Old Men, O Brother, Where Art Thou?, The Shawshank Redemption) website.

On this site is much information to scour. Deakins also answers questions. Another great resource is the ‘Ask David Mullen Anything’ thread on reduser.net. There are over 500 pages of info on the thread and he answers questions on a regular basis.”

Bruce Block’s book The Visual Story is a great resource for understanding the elements of visual storytelling. Aspiring Cinematographers should also explore and read up on other filmmaking departments, as understanding them will help to improve collaboration.

Those interested in joining the International Cinematographers Guild can look to it for more information on becoming part of this union, as well as details on ICG events and cinematography-specific articles.