American Cinematographer - August 2002 - 90

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Shooting videos is also a great way to
explore the possibilities of film stocks,
printing techniques and extreme film-totape transfers, he adds.
"The realm of music videos isn't
what it

once was

considered to be:

a

junior playground, a place that's not quite
as serious," Little X observes. "Styles run
the gamut, and they cross all kinds of
tastes."
Fans of certain genres

of music
receptive to some filmmaking
styles than others, he adds. More often,
the key concern is that a recognizable
face can be seen
always lit, always
beautiful
and that preference origi¬
nates with the record companies. "They
want to see the product," says Little X.
"I'd like to bring into this genre the things
that they're normally afraid to go for -
more extreme lighting, more extreme
concepts. I'd like to move away from the
gotta-see-my-artist-all-the-time type of
feeling and approach it more like a little
are

less

-

-

mini-movie."
Cameron believes videos haven't
very much over the years, and
biggest question is still whether
a particular piece will be a performance
piece or a high-concept piece. Like any
director of photography, he says, he still
has to look at the number of shoot days,
how much the producers want to accom¬
plish and how much they're willing to
spend. "It's part of our job to keep within
those parameters, and part of that is

changed
that the
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Cameron notes that

Keys was "so easy to
light because she's got such strong

features."

knowing when to pick up your speed as a
photography."
Cameron says the most important
thing a cinematographer can do when
working with a director is listen. "Don't
say what you think right away. Wait to
see if what you're thinking is addressing
what the director is looking for. You have
to honor what they're asking you to do.
"If you know the director, you
know how far he or she is willing to go,"
director of

he continues. "When I meet directors for
the first time, we feel each other out until
connect on some level and can begin
exploration of shorthand. With some
directors, you develop a shorthand very
quickly, which enables you to push

we
an

forward into [new] areas. That's where
the challenge starts."
Cameron says

the best kind of on¬
from moments when

set energy comes

he and

a

director

are

able to try some¬

thing they haven't done before. "On
features, you've got a little bit of testing
time, then you jump into it and you push
it on a daily basis. On videos and
commercials, it's such an ephemeral hitand-run [method]. You've got to come up
with ideas and push it, but also know
when not to push it. Cinematography is a
new experience for me every day - how
can

I take what I've learned, turn that

around and

explore

some new

areas?"H
American Cinematographer - August 2002

Table of Contents for the Digital Edition of American Cinematographer - August 2002
