The Lockdown Sessions: Working with a Director of Photography Without Tears

The Lockdown Sessions: Working with a Director of Photography Without Tears

(2 customer reviews)


This course was recorded and is available as VOD, to access it purchase it and check your confirmation email for the link.

This course is also available on demand for free in the member’s area, click HERE



At a glance

  • Welcome to Raindance Lockdown Sessions
  • Enjoy professional film education wherever you are
  • An hour of relevant and practical advice from an industry professional
Battling with your director of photography is one of the most common complaints you hear from aspiring filmmakers. In this one hour course director Simon Hunter shows to avoid conflict, how to create your vision and work creatively with your director of photography. You will learn how to judge DP’s showreels, what to say at your first meeting and how to work directly with your camera team on set.

The course also covers how to decide your “look” and “style” before you enter the set and how to get the best from your camera team. With a series of useful tips and ideas Simon will show you how to form and share a strong creative vision with your cinematographer that will prioritise your vision whilst bringing out the very best work from your DP, your key creative partner on any film set.

What you’ll learn

  • How to find the best DP to work with
  • How to communicate your vision with your DP
  • How to work with your camera crew

About the Tutor

Simon Hunter has directed over fifty tv commercials and three feature films. His directing debut was the horror movie LIGHTHOUSE in the year 2000 and he went on to direct the visual effects-laden sci-fi movie THE MUTANT CHRONICLES in 2008. Simon’s first feature, Lighthouse, was released theatrically in 2002. Simon subsequently became a much sort after commercials director before returning to features with Edward R Pressman’s Mutant Chronicles in the Summer of 2006. Simon flew to Qatar in 2014 to direct 20 episodes of a Scifi adventure series set in the desert. The filming takes place in Qatar, Jordan and India. In 2017 Simon directed his passion project, EDIE which tells the tale of an older lady who climbs a mountain in Scotland at the age of eighty-three. The film has had an enthusiastic and successful theatrical release in the UK and has sold to multiple territories. Simon lives in the German capital, Berlin. Since 1999 he has regularly lectured for RAINDANCE and other organisations.

Read Breaking in as a Film Director by Simon

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2 reviews for The Lockdown Sessions: Working with a Director of Photography Without Tears

  1. BEATRICE COLBRANT (verified owner)

    A director of photography is the most precious man in town. Without director of photography Sven Vilhem Nykist would Ingmar Bergman’s beautiful Scandinavian actresses, Liv Ullman, Bibi Andersson, Ingrid Thulin… be as beautiful, authentic, intense, as they were, so natural without any make up -or so little ? probably not. Would Renée Falconetti in Dreyer’s “The passion of Joan of Arc” be so moving without DP Rudolph Maté ? Would Marlene Dietrich be so fascinating without the cooperation of Lee Garmes in the von Sternberg’s films ? Probably yes as she was apparently a proper DP herself. Making someone look good and beautiful is similar to the task given to a fashion designer, how do you enhance a woman’s beauty, you have to work on the form, the looks, the soul, the mind to catch what can be shown on the catwalk or on the screen. Simon Hunter’s presentation was quite passionate as he analysed the relation between a director and his – or rarely her- DP. The profession is very masculine. The thing is that some DPs are better directors than the director himself and some even become directors. If Claude Renoir remained a DP on Jean Renoir’s movies, French DP Bruno Nuytten ended up making “Camille Claudel”. Raoul Coutard made this film which I like “La Légion saute sur Kolwezi”. No idea why I like the Foreign Legion. In Paris I interviewed the head of the firebrigade – Parisian firemen are militaries – who had been a Legionnaire. He came to a LGBT radio and all gay men there really liked him too. So that was nice. So yes, on the set, it can sometimes be a battle of egos, including one with the make up department. Not everyone looks like Audrey Hepburn and some male film directors sometimes want their leading ladies to look bad. Sometimes they just fail in their perverse attempt. Difficult to alter the beauty, the grace or the nature of someone. Audrey Hepburn said she was unable to play a prostitute and in “Breakfast in Tiffany’s” I have to say that I always thought she played an intellectual student and not a call girl. Her class and pure looks really made the role a nice challenge. Of course, since “Belle de Jour” and Madame Claude, we all know that prostitutes have class too.

    This was a tonic lecture, with plenty of practical tips, sometimes technical but then it was not a lecture on how to make spaghetti Bolognese Sophia Loren’s style, there was also a generous Q & A, the ideal incentive to start doing something interesting. In fact after the session, I started filming Basile and Marcel-the-Cat eating crepes, with my old Lumix camera and a good lightning, that was a lovely moment. Basile, who is 4 years old, says he wants to wear a mask too but like “Zorro” with Marcel-the-Cat playing the villain. So here you go, I have got an idea for a forthcoming movie and two wonderful actors for free whom I can hire for a few crepes Suzette. La vita é bella.

  2. Ana Ramos (verified owner)

    Very insightful masterclass with key tools to work well with the DOP and to develop an understanding for how the communication should flow. Brilliant!

  3. mm

    Elliot Grove

    A thorough, insightful and witty review of this class Barbara – and thanks for taking the time and effort to express your feeling to simon’s class. i actually spoke to him this afternoon (July 28th) about our upcoming cinema advert that he is preparing.

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