'The Way That I Take' - A Conversation With Cinematographer Paul Dufilho

'The Way That I Take' – A Conversation With Cinematographer Paul Dufilho

he how's it going I'm Paul do feel I'm the cinematographer for the short film the way that I take I just started when I was small with my brother mmm my dad would have a big camcorder he'd bring home from work he worked in the oil field he was out on rigs he would go shoot random boring stuff and we'd come over but he'd bring it home and we tape over his stuff with films we make we loved all sorts and Egger we loved Rambo like we loved all the action movies actually I don't know why my parents let us watch stuff that's it but we would do reenactments we'd make our own our own films and so that was just part of us growing up together that's how we did it I became an engineer that's what I got my degree in and I never thought of filmmaking or photography or or cinematography or a frame capturing as anything that I would ever do I begin his musician and that's where my art form I feel really starts and where the core of me still actually lies so music for me and the emotion that it brings is a big part of what I actually do on camera this is kind of one of the first times not the first time but this is I'm early into my stage of taking scripts in their bare form and then trying to visualize what is what is this script trying to say how it wants to be shown you know and so and ultimately that's that's up to you but like I need to come to you with my with my own point of view what is the script telling me how it wants to be shot and so back to what kind of my musical core the thing I picked up from your script was rhythm right and so I feel there's a certain rhythm in the evening the way you ride it but there's there's pacings – I can I can feel where the cuts are I can feel when does the camera need to be motionless because this is a motionless emotion emotion less part of the of the film when does it need to move and so for me movement and rhythm is very important to me and that's what really kind of jumped out at me from from the script you used a whole line relentlessly taut is it right lobster phobic right yeah so that's that's a feeling that we want this thing to have this film to have so if I think claustrophobic there's you you you or have a confined space now that doesn't mean the room you're into has to be confined but the space from viewer to subject needs to be confined so I think we need I'd like to we talked about you know using lenses on the wider and so there's anything from you know 40 40 below or something like that even for close-ups maybe even going wider when we go in closer sure usually it's not a common practice usually you would you know use a longer lens to compress space and make things feel more I guess intimate like you making the background come closer with your subject but I want the viewer to feel closer yeah you know so it makes it creates some uneasiness and might translate the uneasiness of the situations we find our characters in I think lighting is is a big part especially since most of this is gonna be shot indoors you need to be able to push a good amount of light through to tell a certain story to convey a specific emotion right and so and and that costs money not this because of the equipment but a lot of times you need specialized people to come in and and take care of that equipment because you need specific knowledge that you know random generalists like me don't really have all the time and I need to be thinking about something else and I don't need to be thinking about what type of generator goes and what type of plug do we need for this specific light and you know how far away does it need to be for our audio guide and I pick up scent you know all those things I need somebody else to think about that so that that all cost money so a specific expertise in lighting I think is gonna be key for for this now I am always up for the challenge of making things work but I mean that could make this film I think come to life yeah in a good way absolutely absolutely again this is Paul do you feel he's the cinematographer on the way that I take and I'm Chris Hart well thanks so much for watching guys again our Kickstarter campaign is live right now head on over to Kickstarter calm the way that I take and please if you're able to if you're interested please donate thanks so much guys thanks you

1 thought on “'The Way That I Take' – A Conversation With Cinematographer Paul Dufilho”

  1. Chris, you are a superstar! I remember watching your videos when you had around 1000 subscribers. now, you have more than 14,000. You are killing the YouTube game and I'm a proud supporter of your content!

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