We would like to hire a DP for our next project it's a bit off before we will seriously start pre-production. I just have a couple questions. 1. What is the going rate per day or per week for a DP? 2. If you hire a DP will they take care of all the lighting for the movie or will you need extra lighting techs. We're very low budget but willing to spend to take care of lighting issues we had on our first feature. Thanks in advance for any info.
-
Wondering which camera, gear, computer, or software to buy? Ask in our Gear Guide.
Hiring a DP?
- Thread starter MONKPRODUCTIONS
- Start date
1. Depends on the experience of the DP and whether or not they have to use their own gear.
2. Some DPs will come with their own crew (who will generally also expect to be paid - I generally try to work these prices into my day rate if I feel the extra hands are needed)... others will need a crew that takes their direction well, paid or unpaid.
2. Some DPs will come with their own crew (who will generally also expect to be paid - I generally try to work these prices into my day rate if I feel the extra hands are needed)... others will need a crew that takes their direction well, paid or unpaid.
Just remember that being "expensive" does not always translate into "being GOOD".
You will want to look for a DP that has done the type of project that you are producing.
For example, someone who primarily shoots "sports" has not done much lighting.
Ask lots of questions, and ask for a demo reel from your DP.
You will want to look for a DP that has done the type of project that you are producing.
For example, someone who primarily shoots "sports" has not done much lighting.
Ask lots of questions, and ask for a demo reel from your DP.
You definitely want a reel, and perhaps the latest production they've done... to be able to see their current level of expertise as Reels can be filled with older work (I know mine is currently being reworked as it doesn't show my last 4-5 years of work).
And references, if you're paying, ask them to give a list of 3 producers/directors from previous projects. If they are offended, then they may not be able to work well with others on a set. In that case, their Reel/Past work had better be PHENOM!
And references, if you're paying, ask them to give a list of 3 producers/directors from previous projects. If they are offended, then they may not be able to work well with others on a set. In that case, their Reel/Past work had better be PHENOM!
What certs? ASC? well sure, but there is no governing body or entity that establishes standards for DP's. If you mean like Acme School if Photography, they're completely meaningless. I have a certification from a reputable institution the says I'm Final Cut Certified. What a joke that is, I can barely do a simple AB cut.
Perhaps it's a good idea to actually hire an RN to be your DP, that way you'll at least have someone to give CPR if someone dies on the set.
Perhaps it's a good idea to actually hire an RN to be your DP, that way you'll at least have someone to give CPR if someone dies on the set.
I actually do have a red cross first aid cert that I put on my CV, along with my commercial driver's license with passenger endorsement - easier on insurance for potential employers 
Certs show that a potential employee isn't comfortable just doing the same thing over and over, it shows they are hungry for knowledge and improvement. I don't want to hire someone who is happy with their own work, they lack a criticality that I would want on set.
Certs show that a potential employee isn't comfortable just doing the same thing over and over, it shows they are hungry for knowledge and improvement. I don't want to hire someone who is happy with their own work, they lack a criticality that I would want on set.
Certs from anywhere. People who want to learn will seek out learning. People who are hiring want proof that potential candidates are hungry learners... certifications provide that proof. The hiring entity, of course, should then do their due diligence and research the certs. In the technical arena, the certs are well known... less so in this field.
Certificates of completion for seminars are perfectly acceptable examples of a "certification"/cert that would demonstrate that one is actively pursuing ones betterment. Laurels and awards on projects show efforts at choosing projects and groups that are getting work completed working on festival distribution. The cert you're looking for depends on what you want in a candidate.
Do you want to spend tons of $$$? Hire someone with a GREAT reel, a long CV, cinematography awards from prestigious festivals/groups and union membership (which is also a guarantee of employee quality from the union).
Cheaper options can have fewer of these categories met. Someone with a GREAT reel and a short CV may just not have had the number of opportunities to gather the other bits yet, so they'll be cheaper based on amount of experience.
I've done networking for >10 years, but am not certified to do so, no CCSE or CCSP. Does that mean I can't do it, nope. It means anyone hiring me is taking a gamble on the lack of the certification... to measure that, they may look at the length of time I've been doing that particular facet of my job and even call previous employers to make sure I have the skillset. The cert guarantees a minimum level of knowledge on the part of the candidate... they could still be a horrible employee, but at least they have had the exposure to the knowledge they should have.
Exposure to the knowledge is one of the primary facets when hiring someone... the other two I think are a big deal are that they are do-ers (will pursue a task without prompting) and that they are a good fit with the team. A staunch conservative christian simply won't fit if your team is comprised of highly motivated liberals with language like a sailor on leave (no offense intended to any sailors out there) wearing "Satan Loves You" t-shirts on set. They may be the best person for the particular "Look" you're going for, but would never work on that set.
You're hiring someone. Look at the process that way and the answers you seek become clearer. More experience = more $$$ & less risk... Less experience = less $$$ and more risk... less $$$ and less risk, you're running a charity that someone really loves!
Certificates of completion for seminars are perfectly acceptable examples of a "certification"/cert that would demonstrate that one is actively pursuing ones betterment. Laurels and awards on projects show efforts at choosing projects and groups that are getting work completed working on festival distribution. The cert you're looking for depends on what you want in a candidate.
Do you want to spend tons of $$$? Hire someone with a GREAT reel, a long CV, cinematography awards from prestigious festivals/groups and union membership (which is also a guarantee of employee quality from the union).
Cheaper options can have fewer of these categories met. Someone with a GREAT reel and a short CV may just not have had the number of opportunities to gather the other bits yet, so they'll be cheaper based on amount of experience.
I've done networking for >10 years, but am not certified to do so, no CCSE or CCSP. Does that mean I can't do it, nope. It means anyone hiring me is taking a gamble on the lack of the certification... to measure that, they may look at the length of time I've been doing that particular facet of my job and even call previous employers to make sure I have the skillset. The cert guarantees a minimum level of knowledge on the part of the candidate... they could still be a horrible employee, but at least they have had the exposure to the knowledge they should have.
Exposure to the knowledge is one of the primary facets when hiring someone... the other two I think are a big deal are that they are do-ers (will pursue a task without prompting) and that they are a good fit with the team. A staunch conservative christian simply won't fit if your team is comprised of highly motivated liberals with language like a sailor on leave (no offense intended to any sailors out there) wearing "Satan Loves You" t-shirts on set. They may be the best person for the particular "Look" you're going for, but would never work on that set.
You're hiring someone. Look at the process that way and the answers you seek become clearer. More experience = more $$$ & less risk... Less experience = less $$$ and more risk... less $$$ and less risk, you're running a charity that someone really loves!
This.
While we're on the subject of reels, don't just look for nice looking shots or fancy style. You'll get tons of reels that are just someone with a dslr shooting a bunch of nice looking exteriors. Toss any reel that doesn't have *something* that they lit. Nothing wrong with exteriors, but got to show the ability to light.
Also, their reel should show at least a partial scene that demonstrates lighting continuity and shots that flow nicely in an edit. If you have tricky setups (exterior nights or something) then look out for anything analogous in the reels you receive.
Also, if you are looking for a documentary shooter, don't ask for narrative reels. Don't take that specialization too far. I heard of one DP who sent in his automotive reel for a truck commercial and the producers told him that his car work was great, but they really want to see if he can do trucks. They wanted a truck reel. That probably takes it a bit far.
... they are a good fit with the team. A staunch conservative christian simply won't fit if your team is comprised of highly motivated liberals with language like a sailor on leave (no offense intended to any sailors out there) wearing "Satan Loves You" t-shirts on set. They may be the best person for the particular "Look" you're going for, but would never work on that set.
Yes! I couldn't agree more. I suggest that you make sure several people talk with the candidate(s) before making a final decision.
We had one person with an excellent resume, reel, etc. but decided that he was not a compatible personality with the rest of the team. Part of it for us was that almost all of the dp candidates were guys, and we had to be sure that we hired a guy who would be OK working with a woman writer/producer (me) and a woman director.
Yes! I couldn't agree more. I suggest that you make sure several people talk with the candidate(s) before making a final decision.
We had one person with an excellent resume, reel, etc. but decided that he was not a compatible personality with the rest of the team. Part of it for us was that almost all of the dp candidates were guys, and we had to be sure that we hired a guy who would be OK working with a woman writer/producer (me) and a woman director.
Reel, resume, and references.
You need to know the style of shooting and lighting you are after to know if a DP is right for you.
You set the price and see if you can find a DP willing to work for what you can afford to pay.
There are too many neophite DPs who want to charge studio rates because they were able to buy fancy gear, but they are still learning at your expense. So, be VERY careful.
You need to know the style of shooting and lighting you are after to know if a DP is right for you.
You set the price and see if you can find a DP willing to work for what you can afford to pay.
There are too many neophite DPs who want to charge studio rates because they were able to buy fancy gear, but they are still learning at your expense. So, be VERY careful.
Last edited:
Really appreciate all the feedback guys. These are tips we will use when selecting a dp. I think I would perfer to find someone that can light for the hdv camera's we have at this time. Sony V1U's I know that dslr's are awesome but just don't have the money to completely move in that direction yet.
I've found some neophyte DPs who most likely bought expensive lights, cameras, and accessories who have web sites where they charge for their services, plus daily rentals for every piece of equipment they have to bring to a shoot with horrible demo reels.
My advice is to flat rate their day rates. If they don't like it, there are enough good DPs with their own equipment willing to work for an average of $200 a day. Don't hire an over-priced neophyte to learn at your expense. Choose carefully. Demo reels show a lot.
My advice is to flat rate their day rates. If they don't like it, there are enough good DPs with their own equipment willing to work for an average of $200 a day. Don't hire an over-priced neophyte to learn at your expense. Choose carefully. Demo reels show a lot.
The camera shouldn't matter, the rules of lighting correctly are universal. The target values change slightly, but the method to adjust to them is build into the craft.
Hit your exposure on the subject, if the background is too bright and uncontrollable, bring up the light levels on the subject to bring it into range... then light the shadows to get them into the bottom range of whatever camera you're using.
My day rate is $350 for a 12 hour day with some experience. More if I use my gear as I'm risking it getting damaged and having to cover the cost of it (also offsetting my acquisition cost for the gear). More if I bring my own grip crew as I have to pay them, but I know we work really efficiently together.