What DP or Director have you personally learned the most from?

[Tom Lowe]

Even if you're the greatest DP in the world, you had to start somewhere and learn from someone -- ACing, gaffing, gripping, PAing... something. We all work our way up, especially in a medium this technical and collaborative. Have any of you had a chance to work with a really great DP or director who took the time to answer your questions and teach you more about your craft?

I remember a post from someone here who mentioned working with John Toll, and was so jealous! Imagine having a chance to work directly with a legend, especially if that person is willing to pass on their knowledge to you.

Any good stories?

[Ralph Oshiro]

I gaffed for a guy named Bruce Finn like 2 million years ago on ONE shoot. He's a working Hollywood DP with a ton of network series under his belt. So, I walk onto this set one day (I do a lot of set visits on my day job), and I'm thinking, "Hmmm this looks like that guy Bruce lit this." Even I thought that it was weird that I thought that. Mind you, it had been nearly 20 years since I did that ONE shoot with him. Anyway, to my GREAT surprise, I see him on the set, and not only does he turn out to be the DP, he remembers me from that one shoot! Believe it or not, I can pretty much walk into any set and tell if he DP'd it. What I learned from him was how he "cuts" his lights. On that one shoot years ago, we lit this thing with like 2K juniors, and he made like a 3-foot deep blackwrap snoot for it. These were keys, set for talent that was about 100' away. I remember those juniors were hung REAL low, too. Nowadays, his sets always have lots of cutters on every light. Every light basically has a huge "box" in front of it--Foamcore, cutters, Duvetyne, what-have-you, etc. He's even invented his own brand of chicken coops. Bruce Finn. Talented DP. Great guy.

[Poi Boy]

I haven't worked with any legends( I wish) but every set I've ever been on there is something to learn from someone, you always have to be looking for the gem that makes you go "yeah ! cool! I'm going to do that." This will probably sound lame to a lot of you but I love to watch the extra features on dvds where the director and others talk over the movie; priceless stuff to be learned there.
Aloha
-A

[Ken Corben]

Kenny Gibb gave me my "first break" to work as a loader on Renegade in 1992. Geez, working 18 hour days non-union - what a learning experience. We would shoot 7-10 pages a day.

I watched as he walked the set or location and would suddenly stop pointing two fingers, "put the A camera here on an 85mm" then walk over to another spot, "put the B camera here with the eight square." It was amazing to work with this master. I learned more in two years under him than any film school could ever teach me (having paid to go to film school).

Under his tutelage I became second unit DP for Silk Stalkings. More importantly, I carry the experience of working for him to every shoot whether fiction or non-fiction.

God Bless you Kenny, your talent will be sorely missed.

Sharky

[Rob Lohman]

Ralph: may I be so bold to ask what your day job is?

[Ralph Oshiro]

Ralph: may I be so bold to ask what your day job is?
Sorry, Rob--didn't see your post here. I'm a staff EFP camera operator for a daily news magazine show that airs on a big American TV broadcast network that starts with the letter 'N.' I also LD the larger special event shows we cover (Oscars, Emmys, etc.). These often require more than 100 units, anything from 18Ks to PAR16s. I'll generally have four to six grip/electrics rigging for me. My daily shooter is a Sony BVW600 (they haven't decided which HD cameras they're going to go with yet). On special shoots, we rent HDW-F900Rs.

In my free time, I've produced/directed several multi-camera, HDW-F900 live concert shoots. In my other free time, I shoot short films with my 24p-capable, 2/3" 16:9 DSR450 (which I'll have to dump REAL FAST, as soon as I take delivery of my RED!).

[Ralph Oshiro]

Under his tutelage I became second unit DP for Silk Stalkings. More importantly, I carry the experience of working for him to every shoot whether fiction or non-fiction.Holy sh*t! I think I know that guy! I swear, he was the guy that was going to give me MY big break as a camera operator on a 35mm Panavision feature, but I turned him down, 'cause I was still in college and needed to finish school. You must also know Ernie R., the gaffer from Silk Stalkings, yes?

[Justin Kirchhoff]

Tony Foresta....I worked with him on an independent film about 4 years back and learned a lot from him. I was actually a production assistant working my ass off getting things all set and holding papers and moving boxes and lights, etc. Apparently I got noticed and he asked me to be on camera crew.

This guy was pure professional and one of the best steadi-cam operators I've ever seen. He owns a production company down in Orlando, I forgot it's name, but he's a cheap DP and does a GREAT job.

[Rob Lohman]

Ralph: thanks!

[Tom Lowe]

Sadly I don't have any great stories yet about a mentor. :(