“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)

The cinematographer, also known as the director of photography, is the leader of the camera and lighting departments on a shoot. They use lighting, color, shot composition, and camera movement to bring the director’s vision to life. 

To gain an inside look at this exciting career, we talked to several working cinematographers, including Adrian Peng Correia (The Flight Attendant, Ramy, GLOW). “It’s an interesting paradox in that it’s a position that demands focus and artistic intent, but also the ability to put aside your wants and desires for the betterment of others,” he explains. “You have to be both a determined, focused artist with a perspective, and a person who can sublimate their own desires sometimes to be able to tell a story.”

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

Some might confuse the cinematographer with the camera operator. While some cinematographers operate the camera, many choose to oversee another camera operator, giving them the freedom to watch the shots from a monitor and flag any on-screen visuals that could be improved.

But a cinematographer’s responsibilities go far beyond shooting. To successfully create a film’s visual identity, they must be identity and support the director’s vision through each stage of production.

Pre-production

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.

Check out how Academy Award-winning Cinematographer Greig Fraser worked with Director Dennis Villeneuve to execute the unforgettable worm-riding sequence in Dune: Part Two.

Storyboards & shot lists:
As the director reveals their vision, they collaborate with the cinematographer to create storyboards that depict the composition, lighting, camera movement, and occasionally color palette of each shot. This step allows vague ideas to start turning into actual, achievable shots that will be used for reference during production planning and shooting.

The two will also start creating a list of shots, called a shot list, to further prepare for production.

Building a team
Usually, cinematographers select key members of their team to be approved by the producer and director, including camera operators, gaffers, and focus pullers. They make sure the departments they oversee have the talent and reliability needed to succeed. 

For instance, legendary Cinematographer Roger Deakins often works with Focus Puller Andy Harris regardless of who’s directing the film. During his Oscar acceptance speech for 1917, Deakins used his limited time to thank Harris directly for his precision in pulling focus.

Location visits:
Many cinematographers choose to visit the filming locations beforehand to understand what they’re working with and analyze what the potential problems may be.

For instance, let’s say the plan was to shoot a scene in a store facing a checkout counter. The cinematographer visits the set and spots huge floor to ceiling windows behind the checkout counter, causing the actors to be backlit in a distracting way. With this new information, they must work with the director and the crew to find a new way to shoot the scene and update the shot list.

Selecting the right equipment
Based on the shot list, storyboard, location visits, and conversations with the director, cinematographers must ensure that the camera, lighting, and grip departments are geared-up and ready to go. This requires communicating their needs with the producers or equipment managers.

Production

Throughout principal photography, it’s the cinematographer’s job to make sure every shot meets the director’s vision and is usable in the edit.

Managing crew
Production is all about management, especially when it comes to the camera and lighting departments. 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 captured and not getting too far ahead or stuck in the past.

Pivoting when needed
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. For instance, a cinematographer might create a lighting plot for the grips based on a scene where two actors are sitting. However, after the first take, if the director decides they want the actors to move throughout the space, a cinematographer must revise the lighting plot and update the grip department. 

Post-production

Though the director is in charge of communicating their vision during post-production, they may bring in the cinematographer to make things easier. The cinematographer can offer creative input on the color and composition, ensuring their intent isn’t lost in translation. Sometimes creative ideas shot during production will change in the edit so it’s crucial for them to remain flexible.

How Much Do Cinematographer’s Make?

Currently, the median salary for freelance cinematographers falls around $91,000 a year,¹ making them one of the highest paid members of the camera department. However, most cinematographers work on a freelance basis rather than for a company, and their pay ultimately depends on their level of experience and the nature of the job. 

For example, a cinematographer working on a studio feature film will earn more for their time and talent than a cinematographer working on a short film, a microbudget indie feature, or a commercial.

How Are Cinematographers Paid

Similar to other crewmembers, a cinematographer is paid at a rate that’s established in their contract. For smaller projects like commercials, they could be paid an hourly rate with overtime, or a day rate. Feature film cinematographers are often paid a daily or weekly rate.

Unlike actors, directors, and producers, cinematographers are considered “below the line” employees, and they don’t usually get a share of the film’s profits. However, a highly experienced cinematographer might be able to negotiate such backend points as part of their contract. Low-budget features that can’t afford to pay their crew traditional rates might also offer profit sharing as an incentive.

Union Rates

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

For studio theatrical releases produced in California, the current minimum pay rate for weekly employees ranges from $5,020.87 to $5,381.42 a week.² If a cinematographer is shooting a commercial in Los Angeles, they have a minimum salary of $142.64 an hour.³

Unfortunately, $142.64 an hour doesn’t mean a commercial cinematographer earns $300,000 a year. 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.

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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.

Freelance Life

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 project-based freelancers competing with other freelancers. That means that the hours and length of days for a given job depend on the nature of that individual production. In most cases, the typical day for a US-based cinematographer will go 12 hours.

Even though the job market is expected to grow by 3% between 2018 and 2028,⁴ most of these jobs are short term opportunities that highly experienced cinematographers will try to fit in their schedule.  To stand out, an impressive reel surely helps, but it doesn’t guarantee employment. Success requires constant hustling to cultivate and nurture professional relationships within the industry.

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

Navigating a Demanding Career

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.

“You need to have perseverance and maintain perspective,” explains Peng Correia. “If it’s something that you really, really love, then disappointment and the up-and-down nature of it is gonna just be part of the journey.”

Cinematographer Nicholas Matthews, who worked on music videos for  Ice Cube, Rise Against, and Thrice, expanded on this sentiment, saying, “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.”

Like most careers in the film industry, there are many ways to become a cinematographer. However, at the heart of each path is a deep understanding and passion for the visual language of film.

Consider Film School

A cinematographer must understand the fundamentals of cinematography. This includes 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.

Going to school to become a cinematographer allows an emerging professional to get their start on student films, test out which role they gravitate towards, and build a network of filmmakers. For instance, did you know that Director Spike Lee and Cinematographer Ernest Dickerson met while studying at NYU’s TISCH School of the Arts? The two went on to collaborate on such projects as Do the Right Thing and Malcom X.

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

Climb the Production Ladder

Aspiring cinematographers can also 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.

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.

Here’s what a sample production ladder can look like going through the camera department:

• Production Assistant
• Camera Utility Assistant
• Grip
• 2nd Assistant Camera
• 1st Assistant Camera
• Camera Operator
• Cinematographer

If an aspiring cinematographer is more drawn to lighting, they might decide to work their way up through the lighting department:

• Production Assistant
• Electrician
• Best Boy Electric
• Gaffer
• Cinematographer

Network With Industry Professionals

A significant part of a cinematographer’s career path will entail finding as many opportunities as possible to learn and hone their craft. This is especially the case because most opportunities on a set are competitive and freelance-based.

Shoot Independent Projects

Even if a cinematographer decides to spend years climbing the production ladder, that doesn’t mean they should wait years to practice cinematography. Short films, music videos, social media series, and even camera and/or lens tests are a great way for aspiring cinematographers to practice their skills, expand their resume, and develop their artistic eyes.

Create a Cinematography Reel

While a resume of on-set experience is important, directors and producers often hire cinematographers for their eye. If a cinematographer hasn’t worked on any large projects, they should create and share a video reel that highlights their best work and promotes their cinematographic sensibilities. 

Build a Solid Reputation

A cinematographer’s reputation is everything when it comes to landing gigs. As an emerging cinematographer takes on more responsibility and gains more expertise, it’s essential that they approach every project with respect, passion, and a good attitude.

Cinematography is as much an art form as it is a technical craft, demanding a wide range of skills.

Artistic Sensibility

Cinematographers 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 less concrete skills must be somewhat inherent, but much can still be learned from viewing other pieces of art and evaluating how others who came before were able to elicit emotions or create images with a lasting imprint.

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

Technical Skills

The entire crew, including the director, often looks to the cinematographer for guidance on how to achieve the best shot. Because of this, a cinematographer should have a deep understanding of the following elements of filmmaking:

• Cameras & Accessories
• Lighting
• Color theory
• Shot composition
• Camera movement

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

These technical skills can be learned in school and/or on set.  However, as explained by Cinematographer Sandi Sissel (The People Under the Stairs, Nova, Meet the Browns), cinematographers must continually read up on and become familiar with the most current advances in equipment.  “Becoming a respected artist can take one’s entire career,” she explains. “As techniques and styles change, then so must the director of photography’s knowledge.” 

Cinematographers must also recognize and adapt to larger filmmaking trends, including motion capture, vertical filmmaking, artificial intelligence, and immersive reality experiences. 

Soft Skills

According to Krane, communication is one of the most important skills for a cinematographer. He explains, “You have to coordinate with your crew and your managers – the director, the producers, post-production – and that’s all about communication. You need the same type of skills they would in any managerial role.”

Other crucial soft skills include:

• Collaborating with both talent and crew
• Balancing personal preferences with the director’s vision
• Managing the camera, lighting, and electrical departments with authority
• Empathizing with cross-departmental needs
• Remaining calm under pressure
• Staying focused through long shoot days
• Using creative problem solving to pivot when obstacles arise
  

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.

Formal Education

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 might want to consider some type of formal training. 

Film Schools
While most film schools have all-encompassing film production degrees, some have programs and majors devoted solely to the complex craft of cinematography. For instance, New York University offers an undergraduate degree in cinematography, while the American Film Institute offers an MFA in cinematography.

In Krane’s experience, film school is more than technical education. He explains, “Film school helps you think creatively and opens your mind to new ideas. You may love a certain photographer, like Ansel Adams, but when you go to film school, they show you a whole bunch of new photographers that you can then draw inspiration from.”  

Short Courses
If a traditional four-year college or university isn’t an option, aspiring cinematographers can learn through abbreviated programs such as UCLA Extension. They can also take online short courses taught by industry professionals through sites like MasterClass.

Mentorship Programs

Some organizations have mentorship programs that pair aspiring cinematographers with working professionals, including the ASC Vision Mentorship Program. These programs offer a rare opportunity for one-on-one career guidance that can sometimes turn into job offers.

Learning By Doing

For the person who wants to just learn on the job, they can, but it may (in some instances) take just as long 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. That being said, many famous cinematographers were able to learn everything they need to know without film school, including Christopher Doyle (Hero, In the Mood for Love).

Outside of working on set, cinematographers should take advantage of every possible opportunity to develop their skills.  It’s encouraged that aspiring professionals use their free time to explore and experiment with cameras, lighting setups, and personal projects to gain additional experience.

The American Society of Cinematographers

ASC is one of the best resources for aspiring cinematographers. Founded all the way back in 1919 as a cultural and educational organization,⁵ it continues to be a lively hub for the art of cinematography. On their website, you can find endless articles, classes, podcasts, and videos dedicated to the craft.

The International Cinematographers Guild

Those interested in joining the Local 600 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.

Online Resources

There are many websites and YouTube channels rich with creative insights and technical training for aspiring cinematographers.

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.”

Matthews also recommends the ‘Ask David Mullen Anything’ thread on reduser.net, where the cinematographer of Jennifer’s Body and The Marvelous Mrs. Maisel answers questions on a regular basis.

William H. Baker’s YouTube channel, featured below, is also a great resource for aspiring cinematographers wanting to learn how to create stunning visuals on a budget. Recreating iconic shots from films like Blade Runner 2049 and Oppenheimer, Baker shows that great cinematography comes from creativity, not money.

Books

Bruce Block’s book The Visual Story is a great resource for understanding the elements of visual storytelling. For a more technical understanding of the craft, Set Lighting Technician’s Handbook is a popular resource.

Aspiring cinematographers should also explore and read up on other filmmaking departments, as understanding them will help to improve collaboration.