Is There Anything TRULY Original?

I saw a quote the other day by the Director Jim Jarmusch regarding originality, or taking influences and making it your own.  That got me to thinking about my own work, my influences and how I create my own style from them.

It's been said that there are only 7 basic plots that are used to tell the stories or the motion pictures of the human experience.  Some people say 10 and I've heard a number as high as 36, but I'm guessing the 36 list has a lot of overlap.  For my purposes, I've always used the 7 list.

Plot or story definitely affects how we photograph a feature, but to my eye, there are more than 7 styles of cinematography.  There are infinite possibilities and styles we draw upon to create the mood or serve the story.  Camera bodies are the new film stocks, each camera has a unique look and feel.  What type of glass we use, the filters, under / over exposure and last but not least, the lighting all go into our mix, or our unique style.

So where does our style, or originality come from?  Obviously, watching A LOT of cinema you tend to absorb things.  Sometimes, I see a lighting gag I like and will dissect it to put into my bag of tricks.  But with a twist or variation.  Some of these gags I've named after their originators, such as the Law and Order (Gus Makris, DP).  From what I've seen, everybody uses this one in their bag of tricks at one time or another.  You know it when you see it, the scene is keyed from a window - large hmi, with heavy diffusion on the top half of the light so it's several stops down from the hotter bottom half, creating a natural looking shaft of sunlight.  The hot shaft is cut about chest high on the Actors. There's usually enough bounce in the room to keep the Actor's faces at a moody, but solid exposure.  And if there's not enough return or bounce, position a muslin just outside of frame.  I learned the muslin trick from an electrician who works with a NYC A list Gaffer. 

I also look to other sources for inspiration, painting - Edward Hopper and Vermeer are two of my favorite users of cinematic light. Being an ex still photographer, there are hundreds of examples of great work to inspire, absorb.  And let's not forget nature, as I like to say, God is the best Gaffer currently working in the biz.  I'm constantly taking shots with my smart phone when I see an example of beautiful light, courtesy of the Big Guy.  How shadow, light and random sprays of hi lights play across our natural world inspires me.  My phone is my digital sketch book, it's always with me and handy.  The fun comes into play when you try to recreate some of that magic with lights, diffusion and flags.   

One A list Cinematographer has a web site where he freely talks about specific lighting set ups used on his features.  Generous to a fault!  I go there occasionally to browse, and once in a blue moon I read about something I might try.  Did I borrow this from another Cinematographer, yes.  But it won't make my style the same as his.  Nor would I want that as an end result.  I don't want someone to describe my work using another Cinematographers name.

So I guess, in the end, there really isn't anything TRULY original, I get inspiration from a myriad of sources, including other examples of cinematography, but I try to make it something that's mine. And mine alone.

If you'd like to talk style or your creative process you can reach me at
treadway45@gmail or tweet me at @456split

If you'd like to learn more about me or my projects
http://www.stephentreadway.com

I Want It Wider But Tight

"I want it wider but tight"  That is an actual note given to me by a Director on a national spot.  I managed to conceal my chagrined amazement with my Camera Dept poker face, a skill I learned as a camera assistant.  When all hell is breaking loose (flashed mag, primes rolling on the floor) you need to stay calm and poker faced when the Director or DP asks if there's a problem.  Heck, no.

I simply nod and say "Got it".  I walk over to my 1st AC, instruct him to remove the lens from the camera, walk over to the lens case, open and close it and return with the same lens to remount onto the camera.  I ask the dolly grip to move the camera on the lens 2 feet closer to the subject.  I call over the Director for frame approval - "That's great, let's shoot it."  

Set politics is a tricky thing -  knowing what or what NOT to say is tantamount to a smooth running set and more importantly, future bookings.  Asking the above Director to explain himself wouldn't have been very productive and you also run the risk of embarrassing him while he tries to explain the note.  I didn't order the rubber lens for this shoot.

A wise DP mentor who deals with politics on an uber scale - he's an A lister who shoots mega budget pictures, once told me something I've carried with me to this day.  Say yes to everything.  Most suggestions / opinions will fall to the way side in the scurry / intensity of the set.  You'll know what the important notes are and how to deal with them.  

I was surprised to learn that set politics is such a large part of my life on set.  Those that learn to play the game well work, and those that don't......

I'd love to hear about your experiences with set politics - you can email me at
treadway45@gmail.com or tweet me at @456split

If you'd like to learn more about my projects http://www.stephentreadway.com

It's Not the Light You Turn On But the Light You Turn Off

 On occasion, we all have epiphanies with our careers.  I had one on my first project as a Cinematographer.  I had been hired to shoot a Graduate Thesis Short at Wesleyan University in CT.  The Director and I had settled on shooting with B+W negative, using the school’s ancient Éclair standard 16mm camera.  I had a crew of Grad students who were enthusiastic but not experienced grips and electrics.  The school had a few Mole Richardson lights and a small grip package.

After driving almost 8 hours in a blinding blizzard that had shut down New York City, my 1^st AC and I arrived in the early morning before the shoot.  We were only able to catch a few hours of sleep before the 6am call time. However, lack of sleep was of no consequence as I was running on adrenaline, eager to start my first shoot.

After a quick breakfast of coffee and bagels, the Director and I block the first scene and the Actors are sent off to the glam squad.  The set was now mine – 6 eager faces turn to me awaiting my lighting instructions.  I pause for a second, and then leap into action to produce what I thought would be a Citizen Kane homage.  I’m pointing, squinting, and directing my hard working lighting crew.

Finally, I step back and look through the camera’s viewfinder.  My heart sinks, it looks terrible – double shadows, low contrast.  What had I wrought?  At that moment the AD informed me the Actors were ready and the Director wanted to get the first shot off.  In a moment of panic or inspiration, I’ll never know which, I asked my Gaffer to turn a light off.  Then another. And another.  The scene’s lighting slowly started to take shape.  After turning off four lights, I was left with a high camera side key and a 3/4 kicker.  It looked great.  I was relieved and spent the next two days shooting with a growing confidence.

My lesson, which has stood me well all of these years is a simple one.  Beautiful lighting comes from simple lighting.  And don’t be afraid to turn a light off, it might be just the touch the scene’s lighting could use to make it great.

I'd like to hear your thoughts or experiences regarding your epiphanies - treadway45@gmail.com  @456split   

If you'd like to know more about this project, or what I do
http://www.stephentreadway.com 

Anxiety is the Hand Maiden of Creativity

I believe in stretching yourself, working outside of your comfort level - to scare, push your self to a new level of art and confidence.  That's why I took on a project two years ago outside my normal scope of experience.  I did the Lighting Design for a Dance Company at a 300 seat equity theater.  I've never been to a dance performance, no formal Lighting Design or Theatrical design education.  But I am blessed with what the industry calls "an eye" and I have a burning desire to create.

As it was a pro bono gig the creative directors of the Dance Company were only too eager to hire me as a last minute replacement for their normal LD who was unavailable.  I had 2 weeks to prep the show which consisted of 25 dance pieces.  Show day would consist of load in, focus, board programming, dress rehearsal and two shows.  A herculean task if you're an experienced LD, let alone a green one.

I researched on line all I could find on modern dance - Martha Graham, Alvin Ailey.  I downloaded  and poured over dance lighting plots, read dance lighting theory.  I noticed two ideas kept occurring wherever I turned - side lighting and the type of color palette.  Simple ideas, but they were the art form's standards and I incorporated them into my design.  Why reinvent the wheel?  I did a previz/lighting cue design in my head on each piece based upon the type of dance and costume.  I did have notes from a few of the Choreographers which was extremely helpful.

Show day, my call time was 6:30am and I left the venue that evening around 10:30pm.  In between the arrival and departure, I managed to create lighting that I was not only proud of, but landed me the opportunity to design for the Company again as their Company LD.  I'm now about to design my third show for the Company and have incorporated what I learned that day into the other areas of my professional life - film and broadcast.  So my advise is to stretch yourself,  your abilities, go for it.  Scare yourself once in a while, you'll be glad you did!

I'd like to hear about your anxieties in relation to the creative process!  treadway45@gmail.com
@456split

If you'd like to know more about this project, or what I do
http://www.stephentreadway.com 
http://www.designlightingroup.com