The great equalizer of indie filmmaking is that anyone can create beautiful, cinematic images with enough ingenuity. Phone cameras have progressed to such a degree that even the smallest budgets can utilize technology that fits in your pocket; beyond that, equipment rental services have made it easier than ever to play around with a wide range of tools for a day or two. Just look at current indie king Sean Baker, who became the first person to win four Oscars for a single film, the $6 million “Anora”; he shot his breakout movie “Tangerine” on three 5s iPhones.
Of course, Baker is still the exception, not the rule; but he does illustrate an important point: Just because you can get the fanciest equipment doesn’t necessarily mean you should. Here’s how to achieve the cinema-worthy look you’re striving for, no matter your setup.
Storyboard and organize with precision.
Taking the time to thoroughly plan and choreograph your shoot will pay dividends—it may even save you money. If rental equipment is cutting into a large portion of your budget, knowing exactly what you need to shoot ahead of time will curtail any unforeseen costs.
Perhaps more importantly, your images will look better with the more thought you put behind them. Being “cinematic” is not just about capturing the most aesthetically pleasing shot possible, but doing so with intention. Shooting during golden hour, for example, will produce a warm, pleasant feeling; but does that add to or clash with the tone and subtext you’re trying to get across? If you carefully aim to move the audience visually and emotionally, they will forgive the odd quirk that comes with low-budget filmmaking.
Understand frame rate and aspect ratio.
For centuries, the standard frame rate—i.e., how many still pictures a camera captures every second—for film has been 24 frames per second. Onscreen, this closely resembles the motion blur of the human eye. The most simple starting point is making sure you are shooting in 24fps, which viewers automatically associate with what they see at the movies. Shooting in 30fps will produce a smoother, clearer video—which, ironically, feels less like cinema. (Higher frame rates are often used for things like news broadcasts and sporting events.)
A similar conversation should be had about your aspect ratio, or the relationship between the width and height of your image. Many widely available cameras will shoot in 16:9, the typical aspect ratio for TVs and most computer screens. But the aspect ratio you’ll most commonly see in a movie theater is 1.85:1, or 2.39:1 for wide screen. Here’s a tip: Even if your camera can’t achieve these settings, you can get that look by cropping the footage in postproduction.
The more you understand aspect ratios, the more intentional you can be. Think of it as the size of your canvas. David Lean’s decision to shoot “Lawrence of Arabia” with 2.20:1 aspect ratio on 70 mm prints was necessary to capture the massive open landscapes of the vast desert. By contrast, László Nemes made his harrowing Holocaust film “Son of Saul” with a 1.37.1 aspect ratio, which helped elicit the claustrophobic feel of being trapped in the world’s most notorious death camp.
Proper lighting and color correction is key.
It’s a rookie mistake to assume cinematography is all about the camera. How you choose to light a scene makes all the difference between amateurish and professional. And don’t think that just translates to “everything is visible,” either; that’s how you end up with a flat image. Study, research, and think about how to use light (and shadow) to create depth, as well as convey a specific mood and meaning. A character whose face is hidden in darkness is going to instantly feel different from one who is illuminated by the soft morning glow from an open window.
And remember, this mindset doesn’t end when you wrap production. Too many eager independent filmmakers don’t take the time to go through the proper postproduction steps. If you’re going to splurge on anything, make it color correction (or really commit to learning the process yourself). Skillfully adjusting color and contrast is one of the most surefire ways to get a cinematic look, regardless of the quality of your camera package.
It’s easy to get seduced by the flashiest equipment. But if you’ve never cooked a seven-course meal, merely standing in a state-of-the-art kitchen wouldn’t transform you into Gordon Ramsay. The same goes for what you “cook up” on a film set. It’s more important to learn how to get a lot with a little. Those DIY skills will still come in handy when you’re (inevitably) working with an unlimited budget.
