From Spike Lee's MasterClass

Collaborating With Your Director of Photography

Learn what to look for in a director of photography, including how to “audition” a DP and how to create a plan of action, once you’ve found the right collaborator.

Topics include: Audition Your Director of Photography • Your DP Should Elevate Your Vision Find a Flexible, Efficient DP • Plan Ahead and Know Your Shots • Crawl Before You Walk

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Learn what to look for in a director of photography, including how to “audition” a DP and how to create a plan of action, once you’ve found the right collaborator.

Topics include: Audition Your Director of Photography • Your DP Should Elevate Your Vision Find a Flexible, Efficient DP • Plan Ahead and Know Your Shots • Crawl Before You Walk

Spike Lee

Teaches Independent Filmmaking

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Make films with an impact

Spike Lee didn’t just direct his award-winning 1986 feature debut, She’s Gotta Have It. He was also the writer, star, truck driver, location scout, electrician, and caterer, because that’s what it took to get his film made. In his first-ever online directing class, the visionary behind Do the Right Thing, Malcolm X, and 25th Hour lets you in on his uncompromising approach to filmmaking. Learn about writing, self-producing, working with actors, and making movies that break barriers.

Reviews

4.7
Students give MasterClass an average rating of 4.7 out of 5 stars.

It helped me to be more open and self confident about what i do.

This Masterclass taught me about passion and enthusiasm.

MASTER CLASS IS THE PLACE TO BE !!!!!!! SPIKE LEE PROVIDES WISDOM THAT WILL CHANGE EVERY INCH OF YOUR PROCESS , LAUGH CRY AND GROW , AND REFINE UNTIL THE JOB IS DONE

I finished Spike Lee's class empowered, encouraged, ennobled and ready to kick ass. That's a hard thing for a teacher to accomplish these days.

Comments

Matthew B.

we all need more variations of shiiiiiiit, from that guy; each one blows my mind. Chiraq one seemed like enough though, however wouldn't complain about more.

Sophia E.

I’m aiming to be a DP. Women behind the camera is rare. I would like to change the games.

Max D.

At 5:27 on the subtitles they wrote “inaudible”... Spike said “Storaro”. Vincenzo Storaro, a 3 Oscar prize winner as DP

Jim C.

"You have to get your day." That's what it comes down to. Coming off shorts to my first feature (Donovan's Echo) was such a vastly different experience. I had storyboarded most of the screenplay, only to realize that there just wasn't the luxury of time (4 week shoot) for the setups I conceived, especially with the multiple locations that my partner and I had written. In the end, we got what we needed, but it was an important learning experience that I had to go through firsthand as a filmmaker to fully appreciate the challenges that arise on a day-to-day basis. I looking forward to taking those lessons learned, and Spike's great advice into my next production.

Eduardo

I often realize that directors or producers sometimes forget that the most important thing about a film is its history. You can have beautiful photography, million-dollar effects, fantastic actors. If the story, or the way of telling it is weak, everything else becomes absolutely meaningless. As a writer, photographer and aspiring director, I always try to keep in mind that story is the most important thing and that all the other available resources have to be at the service of it. Innovations, style, mannerisms, all this comes with time, of course. Have the focus on story. And, of course, try to use the best resources available to tell that story. Great lesson.

Damon D.

I used a lookbook on my last project. Really helped my DP understand where I was going. Great stuff! Love this Masterclass!

Michael D.

WOW, I don't mean to sway off topic classmates, but I just finished watching the film "Blackklansman," and what a piece of brilliant filmmaking. Amazing, brilliant, and hope fully will provide mush needed discussion about race relations in this country. BRAVO, Mr. Spike Lee. I Love the way you not only made a great film, but also provided us with a prism to look at history.

Deborah R.

I like the idea of using a Look Book to prepare before shooting. It's similar to a test to see if you and your DP are sharing the same vision and what the DP brings to the table to enhance the vision.

Loue G.

Best lesson . it is happened with me when i try to chose my team and we go with shooting ...it is very different when your DOP tall you and you see him on the floor . i can also tell that ,,is not enough to see his work , you should try him also , and i know it will take a lot of work , but also you will save a lot of time and work

Jaime F.

DPs who want perfect become the enemy to done! Finding the balance in getting someone who understands your vision and then elevates it while not making a fuzz and being efficient is the key in working with the right DP. One has to do the work as a Director to communicate one's vision well based on the shots and style they are aiming for.