Want to Be a DP? Be an AC First! Part 2

[@chapasonic]

A fan since day one!! Your work speaks for it self Matt! Your channel will be huge! Lets go!! 🙏🏽🙌🏽💯

[@matt-porwoll]

I appreciate that!

[@kakegarcia8056]

Waiting for that video!!! Bests regards from a Venezuelan follower in Panama!

[@matt-porwoll]

Thank you and glad you’ve been looking forward to it!

[@simon_kenbo_kennedy]

This is excellent. Great advice to anyone wanting to become a DP in any field of work.

[@matt-porwoll]

Thank you!

[@laughorcry5218]

New subbed, watching from Africa. 🙏

[@matt-porwoll]

Nice! Thank you!

[@LukeHumphlett]

Excellent advice! This content is so valuable because it provides information from an Industry perspective. It's great to learn how Industry productions operate and the best practices that go along with that. I'd be curious to hear your perspective on best practices when working with subjects. Thanks!

[@matt-porwoll]

Thank you so much! And glad to hear you want to hear more about working with subjects. I’ll have a video on precisely that in the coming weeks, so stay tuned!

[@lucashubbard1]

I can only imagine how much you must have learned working with experienced doc filmmakers. How did you get started as an AC? Did you work another position or just jump right in?

[@matt-porwoll]

I jumped straight in as an AC, but worked at a camera rental house for a few years before going freelance. That gave me not only the technical understanding of the job, but also the connections to get started. The rest was learn as you go!

[@luke.hutcherson]

Love this, thank you

[@matt-porwoll]

You’re so welcome!

[@moniquebeastie]

Great content! Please keep it coming.

[@matt-porwoll]

Thank you! And will do!

[@thenothing_podcast]

great content

[@matt-porwoll]

Thank you!

[@johnklus]

Either be an AC or come up in G&E is the more ideal way of becoming a DP. Good video

[@matt-porwoll]

I agree with you if going into narrative cinematography. But for a doc DP, we rarely light (except interviews), so coming up through G&E won’t be as helpful. Everyone has their way in, but this, in my opinion, is the best for a documentary cinematographer.

[@Maros_Mari]

Thank you for the insight and tips. Much appreciated Matt.

[@matt-porwoll]

Glad it was helpful!

[@reliantfilmsproductions9752]

Keep it coming in. I would love for you give us pointers on how to measure multiple marking, range estimation, tips & tricks of hitting marks. Thanks 🙏🏼

[@matt-porwoll]

Sadly, I wouldn’t be the person to ask, since in documentaries, ACs don’t normally pull focus and we don’t work with actors hitting marks. It’s all being comfortable with guessing your focus as you follow the action.

[@CineDailies]

Excellent content bro. What’s your process on international travel with gear?

[@matt-porwoll]

The biggest challenge with international travel is getting your carnet squared away. Documenting every serial number, replacement value, manufacturer and country of origin. Other than that, pack well, take only what you need and see what you can source locally. Batteries are great to rent once you arrive bc certain airports have different rules to how many batteries you can carry through them (Mexico City and London to name a few). Other than that, it’s not much different that any other air travel!