Jon Fauer: Good Cinematography Is Technqiue, Technology And Tactics

Back Stage: What is the art of Cinematography?

Jon Fauer: Someone said that "the perfection of art is to conceal it." Good cinematography is a team effort, a combination of technique, technology and tactics--hopefully concealed so as not to appear self-conscious.

BS: How do technique and technology relate?

JF: The cinematographer--also called cameraman or director of photography--must know the tools of the trade, the technology: cameras, lenses, lights, labs, and film stocks. After that comes technique: lighting, composition, camera movement and continuity.

But most important are the tactics. The cameraman's responsibility is to translate concepts--the director's and writer's ideas, among others--into real images. The trick is to benefit from an association with everyone else, to make selective and quick decisions, to do it efficiently and on schedule, and above all, to turn those concepts into stunning images.

BS: Is there a relationship between painting and cinematography?

JF: Impressionism was like location filming--pack up the paints and easel, and quickly capture the moment. Pop Art has influenced front-lit, highly graphic styles. Northern Italian Realism--Caravaggio and Savoldo--is studied for single source lighting. In Flemish, Dutch and Spanish Baroque the source becomes larger, and softer.

Painting often becomes the point of departure for the visual style of a project. We also cut out magazine photos, print ads, go to films, visit museums and look at each others work.

BS: What is the difference between painting and cinematography?

JF: The painter uses simple equipment, and usually works alone.

Bs: What about the Medieval and Renaissance art--usually done for a patron?

JF: In the 12th Century, we would probably be doing the stained glass windows of Gothic Cathedrals -- St. Denis, Chartes--some of the earliest experiments with the transparent and illuminating (as in story-telling) nature of light. These were the commercials of the era. Complete with Clients (God), Agency (Pope), Production Company (Church), and Crew. Jumping ahead a few centuries, I can imagine Michelangelo painting the Sistine Chapel. The Papal art director is suggesting the finger be moved a little camera left, the producer is tearing her hair out because they are two years and millions of ducats over budget, and the business agent of the local guild is still protesting that the artist is working outside his jurisdiction, without a stand-by, and with the wrong union. Meanwhile, the second assistant paint-loader is gloating, because he is in his third hour of meal penalty which is four times the prevailing rate.

BS: What is the difference between shooting for commercials, features, TV movies and documentaries?

JF: Logistics. Shooting a commercial requires attention to detail. A feature requires attention to continuity. Documentaries require attention to the situation. And TV movies require stamina without enough sleep.

Shooting a commercial is attention to detail. It's very intense for a relatively short period of time. It's the difference between a sprint and a marathon. It offers the greatest chance for experimentation, for pushing the limits of the technology.

In shooting...