Acinematographer can be just as important to a spot’s success as a director is. They are partners in getting the helmer’s ideas and vision across to the viewer. In this week’s Special Report, SHOOT looks at four DPs who bring visual styles to life in commercials. Collectively, they discuss their role on an ad shoot, their feature film work, and relevant topics including the difference between working on post-intensive spots vs. those that rely on in-camera effects.
In "Crossover Story," Ellen Kuras, who is represented by the United Talent Agency, Beverly Hills, Calif., talks about her entrée into the spot world, as well as her track record as an accomplished feature cinematographer. Some of Kuras’ long form credits include Summer of Sam, directed by Spike Lee, and Blow, helmed by Ted Demme. While the DP has loads of film experience, she enjoys working on spots. "[In features] you’re thinking of how a shot may last over a minute or two minutes," she observes. "Ads are much more abbreviated. The shot can only last for five seconds and must tell a large part of the story. That’s why I find that commercials are a real challenge."
Although DP Ivan Bird is not an animal specialist, two of his most recent ads, for adidas and Nike, feature large mammals. In "Sportsman" the London-based cinematographer discusses working with a pachyderm, and describes some of his aspirations. He also comments on the difference between DP-ing ads for the European market vs. the stateside market. "A lot of people might think there’s a European film language and an American film language," he explains. "But I don’t know that there is. … It’s kind of good, or bad. And I think the good ones in America are fantastic the same as the good ones here."
Like many DPs, Roberto Schaefer is able to easily move between styles and genres. He has lensed features such as Best in Show and Waiting for Guffman, both directed by Christopher Guest, and has done spots for the likes of Kellogg’s, Uunet, and EDS. In "Two Worlds," Schaefer, who is represented by bicoastal Innovative Artists, discusses his long form work, as well as his experience with spots that rely heavily on postproduction, and those that are more straightforward. "It’s definitely a challenge to always be considering what’s beyond the guy or the set you’re shooting," says Schaefer about post-intensive ads. You know that the green or blue screen that’s back there is going to contain many other things that either you’re shooting or that come from stock footage or CGI. It keeps you on your toes."
Dan Mindel, a DP represented by the Skouras Agency, Santa Monica, also moves effortlessly between post-heavy spots and those that require in-camera effects. Mindel, who is currently lensing Tony Scott’s latest film, Spy Game, recently completed work on Honda Odyssey’s "Sonogram," directed by Mark Pellington of bicoastal/international Propaganda Films, out of Rubin Postaer and Associates, Santa Monica. The ad was very effects-oriented—Digital Domain, Venice, Calif., did CGI—but Mindel says, "I don’t remember anything being problematic. Mark was very organized about it, and he knew what had to be done. We had a clear path, and it was just a matter of executing it."
Enjoy SHOOT’s look at cinematographers; as always, we welcome your feedback.
Kristin Wilcha
Senior Editor/Special Report
