American Cinematographer - January 1993 - 27

Commercials: Where Art and Commerce Collide
How can "'outsiders''-from features, TV, or music videos-break into the world

of commercial

cinematography?

by Brooke Comer
Cinematographers face a unique
challenge, regardless of format.
They are hired ostensibly for their
vision, taste, technique and style,
yet they must work within the
framework established by a direc¬
tor of a film or an advertising

decisionmakers hires commercial

montage reel compiled from their

cinematographers? And by what
kind of criteria are they hired?

TV and film work. When Hewes

Bill Hewes, executive pro¬
ducer at L.A/s Apogee, points out

ity. "There are many excellent cin¬
ematographers with individual
styles today. I like to see what they
have a feeling for and what their
experience is,

that the choice of

pher is primarily

a

cinematogra¬
director's deci¬

a

agency oversee¬
ing a commer¬
cial. Commer¬
cial cinematog¬

screens

reels, he looks for sheer abil¬

and to talk to

people they've
worked with."
He doesn't be¬
lieve that cin¬

raphers can face
especially com¬
plicated de¬

ematographers

mands based on
multi-level rela¬

are

as direc¬
tors, "at least
not
on
the

director,

production

production
company side.

company, pro¬
ducer, agency
and
client.
These directors
of photography
must simulta¬

We're not look-

| ing for reels that
the storyboard.

^

sion of the director and conform to

Above: Director

the ideas of agency

(left)
cinematogra¬
pher Michael
Mayers plot their

Most commercial cinema¬

are

g

| not necessary to

within the vi¬

itself.

identical to

u

^ It's helpful but

neously work
creatives who
may not be fluent in the technology

stereo¬

typed

tionships with
the

as

Victor Mignatti

and

have special ef¬
fects experience
for an effects

spot. The direc¬
tor sets the tone

next move on the set

of "Dance for the

|

on a

j

ematographers

set. Cin-

tographers agree that steady work
is contingent on a good relationship
with one or several production
companies and agencies. Camera¬
men
already working in advertis¬
ing have demonstrated their ability
to work in the genre and are known
by directors and agency producers,
thus increasing their ability to get

producers like himself. "For a
while," says Hewes, "agencies

work. This fact raises some interest¬

wanted

ing questions. How can "outsiders"
cinematographers from features,

hiring process. But ultimately they
began to trust the director's judg¬

TV, or music videos - or newcom¬

ment."

and banks," he notes. "There's al¬

break in? How can stereotyped
shooters get work outside their
reels? Who in the maze of

Cinematographers typi¬
cally have three reels: a car reel, a
general commercial reel, and a

ways room for people with talent.
Agencies are more open to new cin¬
ematographers than to new direc-

January 1993

American

-

ers

Right Thing,"an

have to be will-

AIDS PSA shot last

| ing and capable.

October for G.M.H.C.

8

Right: Larry Banks
uses an

invaluable

^

tool of the trade.

sion, involving some input from

more

It's

a

discipline

| where you can't

involvement in the

bluff. You have

to know your

stuff."
changing of the
guard today, with older names be¬
coming less bankable. "The film
business recycles itself in a shorter
time than, for example, law firms
Hewes

sees a

Cinematographer

25
American Cinematographer - January 1993

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