Ed Moore Follow
Cinematographer
Oct 17 11 min read
A few weeks ago I realised its been ten years since my rst time
working on a lm set. In that time Ive denitely made progress up the
cinematography ladder by my estimation, having started at 0 and
with the likes of Kaminski at 100, Im hovering at a solid 3.2 (rising to
4 momentarily any time Larry Fong likes something on my
Instagram).
So its early days. Nonetheless, if Ive got a lot to learn now, I was
genuinely clueless a decade ago. Only through the generosity and
openness shown by other DPs sharing their knowledge and
experience in person, in books, magazine articles and internet posts
have I made it this far.
https://medium.com/@edmooredop/100-things-ce2bdac7f878#.37eyxw5b2 1/10
25/12/2016 110 things Ive learned in 10 years as a DP Medium
I cant promise that any of the below will be useful to you, or thatll
youll even agree with it its all just my opinion but in the spirit of
the people whove helped me I present the following.
edmooredop.com
. . .
To: me(22)
From: me(32)
. Your credits list and reputation are far more crucial to getting
work than your reel
https://medium.com/@edmooredop/100-things-ce2bdac7f878#.37eyxw5b2 2/10
25/12/2016 110 things Ive learned in 10 years as a DP Medium
. The best operating often results from not operating let the
dolly or crane do the work laterally and avoid panning or tilting
. Handheld rarely looks good if you try and add shakiness to what
comes naturally
. When tight to eyelines get the subject framed nicely before you
worry about positioning the dirty character
https://medium.com/@edmooredop/100-things-ce2bdac7f878#.37eyxw5b2 3/10
25/12/2016 110 things Ive learned in 10 years as a DP Medium
. Try to add 21mm, 40mm and 65mm lenses to the standard set
you carry they end up being very helpful on location (for
spherical S35)
https://medium.com/@edmooredop/100-things-ce2bdac7f878#.37eyxw5b2 4/10
25/12/2016 110 things Ive learned in 10 years as a DP Medium
. Buy your own on-board monitor that records each take so you
have your own instant playback. Youll wonder how you survived
without
. When using IRND lters that tint the image, always white
balance this out in camera
. If in doubt, backlight
. Just before a take ask yourself if theres any light source youd
actually be better without, or that makes the shot feel lit. Its
often the last one you added
https://medium.com/@edmooredop/100-things-ce2bdac7f878#.37eyxw5b2 5/10
25/12/2016 110 things Ive learned in 10 years as a DP Medium
. Light meters are useful but the ultimate light meter is a good
monitor. Ignore the snobbery. Ansel Adams would have loved
false colour
. For best haze look keep camera close to subject to avoid shooting
through too much air. Background will still look great but you
retain contrast in foreground
. The full theatrical version of the gel swatch book contains way
more ideas than the reduced cinematographers version. There
are more colours in the spectrum than just CTO to CTB
https://medium.com/@edmooredop/100-things-ce2bdac7f878#.37eyxw5b2 6/10
25/12/2016 110 things Ive learned in 10 years as a DP Medium
. The theatre and live events worlds are light years ahead of lm in
their use of control systems and intelligent lighting learn from
them
. Hybrid LED xtures are good but those with RGB are even better.
See note 63.
. Always attend the grade even if this means getting cover for
whatever youre shooting at the time. Without our attendence
being standard eventually it will be considered irrelevant and
removed from budgets altogether
https://medium.com/@edmooredop/100-things-ce2bdac7f878#.37eyxw5b2 7/10
25/12/2016 110 things Ive learned in 10 years as a DP Medium
. Try and get your DIT out of their van and near set so you can
keep an eye on what theyre doing with dailies. Communicate
early and often so intentional stylistic decisions are not xed
. Female crew are often better than their male equivalents not
due to their gender but because theyve usually had to work
much harder to get to the same position. This is an industry with
deeply-ingrained gender roles and we have a lot of work to do on
this front
. Ensure your crew have actually read the manuals for all the kit.
Many a piece of perfectly functional equipment has been angrily
returned to the rental house
. Having your morning coee and 102 well before call time will
leave you focused on the crucial rst decisions of the day, not
looking for the rst opportunity to nd a bathroom
https://medium.com/@edmooredop/100-things-ce2bdac7f878#.37eyxw5b2 8/10
25/12/2016 110 things Ive learned in 10 years as a DP Medium
. Work with your gaer to plan pre-rigs so blocking can start very
shortly after call time. It doesnt look good to have ladders and
electricians all over the set when the cast and director walk on
. On a drama its considered very bad form not to turn over within
an hour of the call time
. Nothing good happens after the rst beer in the crew hotel. Make
your excuses and get an early night. This gets worse the older
you get
. Its a great sign of trust when a director starts asking your advice
about how to block a scene dont waste it by not having any
ideas ready
. Respect the work of the line producer and take every opportunity
to control your costs. Be realistic about your requirements and
look for ways to simplify your methods for the same results. Its
not clever to have unused equipment sitting on the truck
. You do your best work when out of your comfort zone avoid re-
treading past victories
. Dont act like youre bigger than the job youre on this is
evidentally not the case
https://medium.com/@edmooredop/100-things-ce2bdac7f878#.37eyxw5b2 9/10
25/12/2016 110 things Ive learned in 10 years as a DP Medium
. Your value as a DP is more than just the sum of the things youve
learned along the way
. . .
If youd like to hear more from me, heres my Instagram, and you
might like my podcast interview on Modern Cinematographer.
https://medium.com/@edmooredop/100-things-ce2bdac7f878#.37eyxw5b2 10/10