The caveat? Well, ironically, given the panoply of choice now available, it can be less than liberating for cinematographers, especially when studios and networks start to insist on such-and-such camera, sensor size or resolution, based on some Utopian vision of a future home-entertainment system; as they see it, in every household should be a top-of-the-range 4K (or higher) television that must, at all costs, be fed with images originated at similar resolution. In short, we are in a situation where, at the very moment in image capture history, cinematographers have more choice than ever before, yet their ability to choose the tool for the job that they actually want, is being undermined.

After the BBC’s calamitous moratorium of S16mm film as a primary medium some years back – which very nearly killed-off the much-loved format in the UK on the basis of it not being compatible with existing delivery systems (which may have been technically convincing, even correct in a blinkered way), but which spoke rather more about engineers delivering news their bosses wanted to hear – we know how the corporate ‘vision’ can distort and manipulate, to damaging effect.

I think the knock-on effect of all this can also engender the wrong approach in those trying to get a foothold in the filmmaking world. One can hardly blame the manufacturers for trying to keep up with the various edicts handed down by the Netflix and the Amazons of this world – out of demand comes innovation. But I fear for the young souls browsing the stands at trade shows who might think that elusive Ingredient X, that new piece of kit, will turn their base-metal into gold, when it actually comes with an unattainable price-tag.

One of the seminars at this year’s AFC event was a tribute to the ASC, including personal appearances by several of its members who either flew in for the occasion or who just happened to be in town. It was fascinating to hear Ed Lachman ASC and Guillermo Navarro AMC ASC talk about their rise through the industry, how they overcame setbacks and prejudice. They are human stories, shot through with an honesty and integrity that mirrors their approach to cinematography.

And, as I listened, I was reminded that the most valuable thing one can bring to being a cinematographer is all that you already have in your possession. The experiences one has in progressing to becoming a cinematographer (aka ‘life’) are what really arm you for the career ahead. When Guillermo was asked what would be the best advice he could give to an aspiring DP, he said “Look at paintings, read, travel, see, absorb….”.

In other words, for all the abundance of tools that are available today, what really matters are your brain, your eyes and your instinct. Oh, and a good script.

Mike Eley BSC
President
British Society Of Cinematographers