As a DP, I have always maintained the importance of having some understanding of the skills that each member of a crew brings to a set.
How can I ask a gaffer to handle a task, if I myself do not have an idea of how this may be accomplished. And so goes for the rest of the crew, from the producers to the interns.
With the affordability of 10 bit and up cameras/recorders, we are now able to stretch, grade and or alter our images. This new latitude enables us to achieve images that are closer to real human vision. Color grading tools such as Davinci Resolve, make that possible.
It also enables a more democratic manner for subjective input from those evolved. How cool is that. 5600K or 5000K? Does not matter. You can deliver both and then some.
In addition to a data wrangler, more often now we have a D.I.T. on set. He or she may have started out as a data wrangler but due to the ever decreasing budgets we have to tolerate, that wrangler may find it advantageous to add on D.I.T. skills. I have advised my wranglers to take a course in color.
As a DP, I need to know what the D.I.T. does, and can do. I took Warrens ICA class not to become a colorist, but to be able to communicate with a colorist or D.I.T. .
One does not download the Resolve lite, purchase a 1400$ control panel, and declare themselves a colorist. The same goes for a DP. Just because mommy or daddy buys you a camera does not make you a cameraman. I’ll stop here on that diatribe.
Having the ability to communicate your ideas on the screen and then have others who could elevate your ideas just makes sense.
This class has literally opened my eyes. I found ways of improving my lighting, exposure and set design. Most of all, I found ways of improving my manner of approach.
I also gained a tremendous respect for professional colorists.
Dennis Dillon DP
