Ideally the cinematographer’s relationship with the director is a symbiotic one. The cinematographer embraces the director’s vision and uses his visual talent and technical knowledge to capture the director’s inner thoughts and put them on the screen. Needless to say, the process of choosing a cinematographer is of no small importance to the director.
It is my impression that most of the cameramen have developed a highly personal style. They have an individual character that becomes their stock in trade.
Often a director will screen several films shot by a prospective cinematographer.
In effect, I believe you have to trust the taste and temperament of the cameraman as you see it in his previous work. Obviously, you should take care to see a number of his films to see how he handles different genres; to see what range he has.
BLACK-AND-WHITE AND COLOR
A cinematographer cannot separate the problem of light from the problem of color. Through the film stock he is using, through the filters on lights and lenses, and through the printing in the lab, he cooperates with the art director in the orchestration of colors or in the modulation of the gray scale in the black-and-white films.
I’ve always felt that melodrama and satire have characteristics in common. Ideally, I would prefer to shoot both of these genres in black and white. Distributors nowadays declare that black-and-white movies are unsalable. A compromise may be the kind of cinematography where there is a very emphatic range of tonal values, black to white, at the expense of hue values; strong directional lighting of chiaroscuro, which underlines the architectural structures at the expense of the local colors of the surface.
There are personal idiosyncrasies when it comes to particular colors, for both aesthetic and practical reasons.
With love and passion, Amreish Siman
Source : http://malaysianfilmmakers.blogspot.com/
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