April Commentary from George Spiro Dibie

The Art of Cinematography

The media hype is that anyone can be a filmmaker. They say all you have to do is put a camera on your shoulder, point it in the right direction and push a button. They say that it’s more democratic because anyone can do it. That much is true. It is also true that anyone can write stories and create images with a computer. But stories created by anyone aren’t likely to be artful in ways that touch the heart and soul of an audience or leave a lasting impression.

Filmmaking is a form of visual literature with unlimited possibilities. Our 7th Annual Short Film Showcase is a festive celebration of that art form. These films will make you laugh and cry. They will engage you emotionally and make an indelible impression.

Showcase 2003 is also a testament to the remarkably deep reservoir of our Guild’s talent. In each of these nine films, one of our members has made a unique contribution to a collaborative process. That’s what makes cinematography an art –– everyone does it differently.

Most of the short films featured in Showcase 2003 were non-paying jobs for the cinematographers. They did it for the experience and out of their love of the art form. They usually aren’t recognized when their films win awards and critical raves at festivals. Critics tend to focus on actors and directors, because their work is more apparent. Artistic achievement in cinematography tends to be transparent to audiences and critics by design. The idea is to make the audience temporarily suspend their sense of reality and pull them into an illusion.

The truth is that none of the talented young directors whose films are featured in Showcase 2003 have taken the bait that technology has made it easy for anyone to shoot great movies. They all know that everyone has a role to play. A miniscule shift in focus, camera angle or movement can irretrievably alter the flow of a story, as can a blush in someone’s cheek, a glint in an actor’s eyes, and someone barely concealed and then revealed in shadows. All of those things only happen when a director and cinematographer are working as one, with flawless execution by a camera crew. Gordon Willis, ASC, said it best decades ago, “A painter can’t express himself as an artist until he learns how to use a brush.”

The Super 16 ‘Revolution’
In this issue of the magazine we are exploring the use of Super 16 film tools on lower budget projects produced for the cinema and television. As we go to press, there are 10 episodic series, and several movies of the week shooting in Super 16 format. The concept was invented in Europe as an affordable option for producing widescreen movies on minimal budgets. It is becoming an increasingly attractive alternative because of rising budget pressures coupled with advances in technology. Tools like the incredibly portable Aaton A-Minima camera, high speed relatively low grain films and breakthroughs in telecine technology are converging to make the Super 16 format an appealing alternative to both 35mm film and the various digital video systems. In future issues of our magazine, we will keep a close eye on this rapidly evolving trend by exploring the creative, technological and financial issues.

As always, I look forward to your comments and suggestions. Please e-mail them to me.

George Spiro Dibie, ASC
National President