Interviewing for cinematographer job - advice?

I am going to be applying for and hopefully interviewing for a cinematographer / editor job for a regional media company. Involves a lot of field (nature) work so this is a job I can’t even believe I’m going for. It’s pretty amazing. Now while I do have a lot of camera experience, calling myself a cinematographer is a bit of an oversell. Besides providing examples of my work and cramming on technical know-how (I have been studying for decades, not all fly by night), might anyone here have gotten a similar start and have some advice?

Show how you understand and your work demonstrates the artistic vision, tone, look, and feel of a cinematic video production including consideration of the use of effects, music, audio, lighting in addition to visual elements such as framing, frame rates, angles, colour correction of tint and temperature and how you can impact colour grading.

They're a regional media company... forget the tech and how to stuff as they likely know more than you already and don't need to hear more... unless of course they ask, but then keep it short and simple (and keep your cards hidden.) Of course let them know your qualified... subtly.

The most important thing that will impress is how well you get along with all of them... if you are going to be working with them they want someone they can trust, feel comfortable around and have a personality they respect. Keep in mind they are the creators (especially in their mind) and want someone to help with the cinematography and editing. Yes, I know both those position demand a creative person. But, you are only applying to help them out at this point.

Don't waste time showing them a bunch or your work... unless they ask... and then again, keep it short and sweet. Best to leave them wanting to see more. And don't talk about yourself... find out about them and what they are looking to accomplish. Remember you are interviewing them as well and you would best be served by working with a company you admire. Six months or year from now you don't want to be bored with the work.

A lot of the time, depending on age and experience employers in our field are looking for "chemistry".

Based on how much time one would wish to spend with a certain personality either in the field or in a dark edit suit.

You either have it or not.

It is exciting.
Break a leg.

And this is exactly why those like me, autistic, won't get hired for such work. We won't ever have "the chemistry" they're looking for. Even if we always do better work.

So having your own business is almost required in some fields.

I've personally hired a lot of people over the years. I never ever expected them to get along with me, as that just seemed silly to me. Long before we even suspected I was autistic

I hired after extensive testing to see that 1) they could learn the Job, and 2) they could get along with and be respected by the other employees.

I was told over and over my hiring practice was weird.

But it worked very, very well.

As things are, there's very wise advice here.

I'll just say this. Hold your cards close and don't show them unless asked. Show interest in their entire workflow process. Know as much as possible about their company but don't be showy about knowing it.

Understated, comfortable knowledge is frequently a Good Attitude to display.


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The two things I look for when hiring are:

1. Can you learn?

2. Can you solve problems?

Stellar qualifications in every other regard will be meaningless if the person can't produce what is actually needed or has to ask for help every time something isn't working.

If you have those abilities and can find a way to bring them up in conversation, maybe it helps.

Excellent, Jim.

If you're already being interviewed then the chances are they already like you for the job in some way.

An interview is really about seeing if you can get along and what you're like to work with as a human being. As others have said, you likely don't need to sell them on your technical abilities, they've likely already vetted that. What you should be demonstrating if you can is how you might apply that knowledge. Without knowing more about the job it's hard to go further on a forum like this.

I'm lucky to be at a point in my career where my existing work is enough of a reel and mostly it's about the interpersonal that anyone is looking for in an interview.

But I got my first break by being...cocky. Without even knowing it.

I was invited to meet about a series that had already been done as a pilot. This was to be the series DP ongoing and the show runner wanted to meet with me on the recommendation of the production designer who had worked with me.

They sent me a copy of the pilot and then asked me what I thought and what I would do differently. I recklessly told them exactly what I thought of their pilot, mostly how I didn't think some of the choices were right for the show and what I would do differently.

They later told me I was the only candidate that was "honest" and rather than sycophantically telling them how great their pilot was, I told them how I thought it could be better. All the other candidates told them how they would replicate the pilot's visual approach.

I got the job and it was one of my most important career moments, starting a relationship with that producing duo that would later lead to many things.

It was a lesson for me too. You can be honest and there's a way of speaking creatively about work that isn't personal but can demonstrate that you understand the themes and the material and genuinely want to make it better.

For me as I work in narrative drama, I like to show that I've read the scripts (you'd be amazed how many interview that don't), and I also like to be familiar with the source material if it's from a different source. I did a crime series that was based on an existing podcast, so I listened to the podcast as well. It shows you're coming prepared and taking it seriously.

Then I try to demonstrate that I understand what the story is about. What are the story themes. What are some ways that might be represented visually. Not specific though!! Just general terms about story, not composition or angles or visual references. No single mention of lighting style.

Sometimes it can also be about methodology. When I'm doing something that is comic I can talk about being open to cross shooting because it helps a lot with comic material. Many DPs refuse to cross shoot for example.

I know a lot of DP's in drama will use look books and shot decks, but I usually feel like this is best done once you're actually working with the director. Once you HAVE the job!!

There's no point in my view going in and pitching visual ideas in detail in the absence of a storytelling directive from a show runner or director. But this seems to be what a lot of DP's are doing.

I've also seen too, many many times that these ideas from DP interviews are stolen or re-purposed. I even interviewed for a show when're they showed me someone else's deck and said "we like this".

JB

*also, SHOTDECK is GREAT, but I also see the SAME FRAMES on multiple decks for different shows. It's like everyone is using the same visual references. I still like to cull my own when I make a deck or a have to present the visual manifesto of a show I'm working on.

Another take on the interview on the importance of putting emphasis on helping your prospective company rather than reiterating your past skills and performance. Trust and service.

https://apple.news/ALjWONWHHT7uMQX4j4PWcDg

As a (former) DP myself I agree with most here that it'll be about how you connect on the human side of things.

And I would strongly advise against reading about what you should be saying or not, neither from articles nor this forum - this is not what they want from the interview. They want to get to know you, so please don't be someone else, that won't work. Making films isn't IT or business ect, a large team will have to get along during the most stressful situations. They'll ask you questions but really they want to get to know you as a human.

calling myself a cinematographer is a bit of an oversell

no it's not

And this is exactly why those like me, autistic, won't get hired for such work. We won't ever have "the chemistry" they're looking for. Even if we always do better work.

Did they know that you are on the autism spectrum back when you were applying for jobs? I think that makes a difference.

I was told over and over my hiring practice was weird.

But it worked very, very well.

Are you talking about video production?

In general.

But in specifics, our image production chain was complex and interlinked. And in its way, not that different from video production.

It took a smoothly functioning team, all well aware of every detail of the other staffers jobs, actually able to step in elsewhere if needed. Who all worked very intentionally collaborative.

And who clearly understood the final deliverable required. And not only worked well as a team, but respected the client setting the required details for each specific job.

In that overview, very like unto current video production. Even if specific parts are unlike, as indeed they are.

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I think one of the most crucial criteria in film/video production (note I'm talking on-set production, not post-production) is that people

1) are no a-holes or
2) turn into one under stress.

That's pretty much independent of whether you're on the autism spectrum or not but I can definitely imagine that expectations might not be met in a job interview when the interviewers don't know that the applicant is on the spectrum. Perhaps even when they do know, some may struggle to deal with that, you probably know better.

OMG, these replies are gold. Seriously, thank you to everyone who took the time to impart your knowledge. My main takeaway is that I should focus on relationship building over technical know-how. Very poignant as I'd be working shoulder to shoulder with scientists for days on end out in the field. There are definitely some pointers within that I will adhere to as I craft my CV. Thanks again!