Below we have sketched a vision for the way we recommend directors and producers collaborate with their cinematographers.

These guidelines are starting points and minimum recommendations for negotiating with producers and directors. We are encouraging transparency in communication with production to create standardized practices and manage expectations.

Our guidelines are endorsed by the following organizations:

 
 

Pre-Production

Here are some things to discuss with your DP during the prep period.

 

  • Setting the look

  • Conducting camera tests 

  • DP or AC performing equipment checkouts

  • Scouting locations virtually or in person

  • Creating an aesthetic look for the shoot, logistics for the shoot, gear list, choosing colleagues

  • Participating in all-team prep meetings

  • Communication between a primary DP and additional cinematographers that are hired 

  • Establishing fees for pre-production work

  • Discuss hazard pay for potentially dangerous productions

Production

This is what we would like to be involved in discussing during production.

 

  • Reviewing and discussing dailies 

  • Working with director(s) and producer(s) to set priorities and adjust schedule

  • Fine-tuning shot list/scene list day by day

  • Talking through safety issues on set

Post-Production

As creative collaborators we would like to be involved during the post process as well. 

 

  • Encourage a conversation between the DP and editor prior to the shoot to discuss camera settings and workflow

  • Encourage producer(s) and director(s) to be in touch with a DP during the editing storytelling process

  • Invite DP to color correction sessions and/or visual effects sessions

Set Protocol

 

  • 30-minute meal (and break) at least every 6 hours to be considered based on the nature of the shoot, which could be unpredictable especially with verite filmmaking. We ask that communication remain open between crew members and production in regards to schedule and meal breaks

  • Breakfast is courtesy, lunch is provided, second meal is provided

  • Craft services (water and snacks)

  • 10-hour minimum time off between one day’s wrap and the next day’s call time

  • Safety rides and courtesy hotel rooms after 14 hours, or when wrapping late at night

  • We strongly encourage hiring a sound person on all documentary productions unless safety (due to COVID) or access issues prevent the addition of this critical crew member

  • Encourage use of gaffers/grips  (e.g. depending on the style of coverage)

  • Encourage having an AC and/or media manager

Safety on Set

 

  • Encourage conversation on use of handheld filming in a moving vehicle because of the safety concerns listed here: https://vimeo.com/241251141

  • Discourage having the DP stand in the middle of a street that has moving traffic for a shot

  • Access to mental health professionals paid by production, if the subject matter is difficult 

  • HEFAT training for applicable shoots (i.e., filming in a conflict zone, during a protest, or similarly dangerous situations) should be a requirement for every team member being sent out with the DP

Contracts

 

  • 10-hour days before overtime begins

  • 10-hour minimum turn-around, door to door

  • 30-minute lunch is off the clock

  • Fees for prep days, wrap days, and any post-production supervision (like color correction or VFX)

  • Fees for down days and travel days - we encourage a full day rate for travel over 5 hours

  • Hazard Pay if applicable

  • Half-days are discouraged

  • Kill fees

    • MINIMUM: 100% labor and equipment rate if cancelled within 24 hours, 50% of both rates if cancelled within 48 hours

    • Hold days where a DP is required to turn down other jobs, and the held shoot is cancelled, always triggers kill fees no matter how far in advance the shoot is cancelled

  • Production provides equipment insurance even if the DP is providing the equipment

    • Cover deductibles and repairs, and guarantee quick replacement and cover interim rentals

  • Box rental/equipment rental when the DP provides equipment

  • Payment terms (due upon receipt / net 30 / etc) 

  • DP should have no liability clause in contract 

  • Require worker’s comp coverage from production

  • A full resolution copy of the final material once it has been released for DPs to use in their work samples

  • Encourage deal memos before starting work - all the contractual points listed above should be provided in writing and mutually agreed upon

Credits

In an effort to standardize camera credits for documentary films, we suggest the following both on-screen and on IMDB

 

  • Director of Photography / Cinematographer credit: reserved for the cinematographer who sets the look of the film and/or undertakes the majority of the shooting.

    • Note that this can be a shared credit and we recommend discussing this with your cinematographers ahead of time

  • Additional Cinematography credit: reserved for cinematographers who shoot on the documentary once the look has been set by the film's principal Director of Photography, but who are not supervised by, or directed in the field by, that cinematographer during the course of their shoot

  • Camera Operator or Additional Camera credit: reserved for cinematographers who work on the film under the direction or supervision of the principal Director of Photography whether or not their footage appears in the final film

  • We encourage you to discuss credits with your DP before you lock credits