foreign [Music] okay just one quick tip before we really get into the process of looking at these Stills and looking at the location I mentioned it earlier here in the introduction to this section but the two main things that I would emphasize here are speed which we talked about speed getting back to people speed getting out to the locations offering your time especially if they do offer that you can go out to the location yourself even if you're not getting paid for it depending on the involvement that you have with the project and how powerful
you think it can be and what it can do for you and how much time you want to invest I would always say go out to the location yourself even if it's not going to be with the location manager even if it's not going to be with the director you're going to have that much more power when it comes to visualizing what this thing can actually end up looking like and the more information you have the more power you have in those early conversations to get across exactly what you're going for the other thing that
I would say is story and nah nah this is not the the dream of every cinematographer to sit there and talk about how the story impacted the visuals and how they did this because Little Tommy uh you know like chicken strips or something like that this is I'm talking about story that you can give to the director and to the producer what you can arm them with to go back to the client in the agency right because we have to remember which Cog we are in the wheel and where everyone else slots in and what
they need to be successful a director a producer the production company they need to go back and sell these locations to the client to the agency so the more that you can imprint story as to why this is going to work or why this is going to be good and how quickly you can articulate that information that is key because you need to arm them with the tools that are going to allow you to get the location that you want in the end right you're trying to gun for your number one location because you know
it's going to look the best that's why you get paid that's why you're the cinematographer because you know what is going to look the best they don't know that so you have to arm them with the information they is why this is why location one is better than location two this is what we're going to be able to do this is how much money it's going to save you this is how much time it's going to save us and overall the project in general is going to be better for it because x y z so
speed and story get used to articulating why something is better than something else and this is oftentimes where you see younger cinematographers sort of trip over themselves you're there because your opinion is respected right you got hired to do the job so do not hold your tongue like if you see something and it's going to look better that's when you say hey this is going to look better and you're not out of place to say that other people you know might be less reluctant or might be more reluctant I should say in this process where
maybe they don't like the look of the something but they won't actually say it they'll try and skirt around it no you're there to help the director get what they're after and to make it as good as possible so make your opinions known as quick as you can and give them a story arm them with the tools necessary to go back to where they need to sell the idea onto and to have it be successful so story and speed
