Andrew Laurendi has studied filmmaking at Long Island University and the Los Angeles Film School. His studies have informed the production of his short films. Throughout his film education, Andrew Laurendi has explored a diversity of important topics, ranging from production design to cinematography.
The American Film Institute describes cinematography as the practice of capturing moving images via a camera. Cinematography is an essential element of storytelling in the film industry, contributing to a movie’s visual identity in the form of light and color choices. Cinematography also involves using different camera lenses, deciding on how one or multiple cameras should move through a scene, and what subjects to focus on in each frame.
Many different people contribute to a production’s cinematography. That said, the cinematographer is, unsurprisingly, the primary decision-maker in that regard, although he or she often closely collaborates with the director and many other technical leads, balancing technical decisions with aesthetic intent. Some shots require extensive preparation and practical considerations, while others are more about the creative elements of a scene and how they support a film’s themes and overall aesthetic.
A cinematographer’s role and relationship with other filmmakers can vary considerably from one project to the next, but generally speaking, this specialist strives to execute the director’s vision while leaving their own visual mark on a story. For instance, a director might request an aerial shot of a car being driven down a long road. The cinematographer may discuss specifics such as the distance of the camera from the car and whether the director wants a straight-on tracking shot or for the camera to sweep into the scene from an angle. Regardless of how much creative input a cinematographer has, they must prepare and execute the technical demands of the sequence.
As mentioned, cinematographers work with many other people on set. They need to maintain close working relationships with production designers, especially on movies with large, expensive sets that may affect how the camera can move. Plus, a cinematographer’s job does not end when filming is completed, as they contribute to various post-production processes, such as color grading.
Cinematographers also engage with actors, though sometimes with directors as an intermediary. For instance, blocking is a term used to describe where each performer is standing at the start of a scene and how they move through it. Blocking is always described using the actor’s position in relation to the camera.
Throughout their careers, cinematographers must master the use of many different cameras and lenses so that they can expand their visual-storytelling toolkit. They use a variety of additional gear, such as dollies, small platforms on wheels that carry a mounted camera. Depending on the scene, cinematographers may recommend that directors use a manual dolly or one that follows a track.
Several cinematographers have left a cinematic legacy, such as Roger Deakins, who has established long-term relationships with directors such as Denis Villeneuve and the Coen brothers. Vittorio Storaro is known for his unique approach to color theory in films like Apocalypse Now and The Last Emperor. Other notable cinematographers include Emmanuel Lubezki, Gordon Willis, Rachel Morrison, and Autumn Durald Arkapaw.
