Throughout his appearance in the NAB Show, Adam Kimmel, ASC, shared his ideas on the crucial part played by the Digital Imaging Technician (DIT) on any given set. He explained his experiences as a director of photography and shared tales he has found himself through the years. Read further here: Adam Kimmel DP.
Balancing the visual and creative aspirations with all the logistical and financial limitations are a few of the most difficult challenges that Directors of Photography (DPs) have faced throughout their careers. The conflict between saving the manufacturing money or looking to capture the choices made as well as the picture can feel as they are compromising the other or one. Part of what defines a successful DP is the way they respond to those challenges, the way they utilize their expertise and the resources at their disposal to overcome these barriers without compromises made to both end.
This was one of the primary topics discussed throughout Kimmel’s visit at the NAB Show, as the dialogue centered on how he and other guests have used DITs throughout their careers. They also discussed the role they have played in the achievement of any project that was given. Kimmel chose a different approach to this subject, pointing out one specific instance while many agreed that the presence on set of a DIT is invaluable. On a feature film he took in Atlanta, the production had a listing of local DITs available when Kimmel arrived on board. After analyzing the financial challenges of the film, Kimmel opted to not function with a DIT at all and also to do the job in-camera and with lighting that enabled him to get the look he wanted while conserving resources that were much needed for other regions of the camera department.
“This wasn’t an easy choice. I knew it’d make my job more difficult. However, given that the available possibilities, I chose on the additional job and managed to deal with the image control myself. I think the years of working in film and also I was given the abilities required to perform more of the work in-camera and with lighting by the photochemical process with labs. Even when I’ve a great DIT on my team, I tend to operate that way.”
But Kimmel reported that when working with a DIT, he loves collaborating together to achieve a particular appearance.
“I prefer going into the DIT, outlining my vision of the scene, and receiving them completely on board. I then also ask that we control what gets seen on all of the screens to maintain vision,” expressed Kimmel. Remarking that on advertisements,”customers usually have concerns that I’ve already heard in pre-production and have taken into consideration in making the choices I have made. Every has a look on it and I also believe this process of having many monitors, causes a great deal of confusion and unnecessary concern. I request the DITs to place some time and effort.
“Obviously, having a reliable DIT is quite important, as they are responsible for a lot of the quality management and also for technical advice in addition to maintaining the looks we put throughout the shoot,” he continued. “The results of this dailies will depend on their skills and ability to maintain the looks and troubleshoot whatever comes up along the way, and when we get that right, we’ve got a much greater chance of this intention which makes it all the way to the final grade.
Kimmel has been employed in the cinematography industry since early on his own life, as he began his career as a camera trainee into Michael Chapman, ASC on The Wanderers. He’d then proceed to Martin Scorsese’s Raging Bull, which was followed by a stint ASC on Brian DePalma’s Dressed to Kill, with Ralf Bode. Working closely with renowned Hollywood titles gave him insight into handling challenges both on and off set. This encouraged him to pursue his objectives and keep working towards becoming a cinematographer, a goal that he’d attain in 1986. Learn more here: Adam Kimmel DOP.
Kimmel has since taken over 16 feature films, receiving two Independent Spirit nominations and a BAFTA shortlisting for Best Cinematography. His movies include Bennett Miller’s Capote (5 Academy Award nominations, including Best Picture and Best Actor win for Phillip Seymour Hoffman) He’s also known for Lars and The Real Girl, Never Let Me Go, Jesus’ Son. Kimmel is shooting an Untitled Bennett Miller project. He has been part of the Academy of Motion Pictures Arts and Sciences because 2007, along with the American Society of Cinematographers since 2008.
Those interested in learning more about Adam Kimmel are welcome to go to his official site, which hosts a list of sources regarding his work. More information can be found here.
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