DP: Ed David
The Mast Brothers
The Scout Magazine
Director: Brennan Stesiewicz
Tell us a little about yourself…
My name is Ed David. I started working in the film/tv industry around 2003 after I graduated from Emory University. I majored in Anthropology and took a bunch of film courses. I did a bunch of internships every summer in the early days of the Internet web video circa 2000. The website named Alltrue.com was kind of a precursor to Youtube. We shot short videos for the web. I shot a few, edited a few, and even stared in some. I originally thought I was going to be a website designer – that’s why I interned for them. On my first day they put me in the tv production department – a happy mistake! I did a few documentaries in high school and even took a documentary course at Weslesly summer college program when I was a junior and I was exposed to the works of Frederick Wiseman and Errol Morris – I loved these films! But of course at the time I had absolutely no idea where all that would lead me. I had absolutely no desire to become a DP let alone use a videocamera. My sister was the photographer.
I work on television, web stuff, industrials, narratives, docs, experimental films, music videos and commercials. A little of everything. I work sometimes with a crew of three people all the way to a crew of 25 people. I’m obsessed with cinematography – the art form, the technology, the endurance of it. I. Love. It.
Have you always wanted to be a DP?
No not at all. I completely fell into it. First I wanted to be a writer and then an editor and now a DP. But luckily I’m happy right now with where I am. All though I still would love to become a private eye.
What is it that interested you in Cinematography?
Cinematography is one of the most beautiful art forms in the world. We are literally playing with shadows, darkness, light and color and helping people discover the beauty in the ordinary. There is so much natural wonder to find, little visuals moments to discover, and just a general feelings for people to enjoy. There is so much subtext to life and cinematography shows this. Plus putting images of people together – shots – the editing of this is simply the most amazing and unique art forms of the modern era – in my humble opinion.
Why do you think people have taken notice of your work?
Well I think people like my attitude – I’m a can-do guy. Nothing is impossible. I’ve gotten through some serious jams and all with my indie guerrilla attitude. I like doing things for cheap and making it look expensive. Also I think people like that I take risks. I like to do things that other DPs may say is dumb or doesn’t make sense. I mean, I love following the rules – which are as important as grammar in writing – but I also like to try to change things up a little bit. Well at least I think I do :) I just did a shoot recently where I found I was being conservative. I sometimes wish I could go back in time and change things. Also I take each project I do very seriously. Every single thing. Even a fun video I would make for a
friend. I can’t turn off my attitude towards each and every project. One last thing is I try to have a sense of humor on set. I think some people think my jokes are cheesy – but anyway I always want everyone on set to have a good time and be relaxed – we are making fantasy – it should be treated as fun! Easy to say sometimes but it can very stressful situations.
What do you find yourself most afraid of?
I’m scared of not advancing at a pace I want to advance at. I want to be like Gordon Willis, Lance Accord, Mark Chapman, Maryse Alberti, Raul Coutard – I want to get that good. And I’m nervous that I may not be advancing as much as I need to because I’m not studying at much as I should. I need to be watching more dvd commentaries, reading more books and interviews and magazines like American Cinematographer to really learn from these great DPs. I don’t want to get lazy and settle.
Tell us about the process of making the Scout Magazine video, “The
Mast Brothers.”
This video is the third collaboration between Brennan Staisewicz as Director/Editor, Tom Ran as Producer, and me as Director of Photography. It is the third video in a series on quality. Previously Tom and Brennan and I looked at BillyKirk and Roman and Williams. All three of these companies believe in craft and quality goods at a time when more and more things are being mass-produced. Brennan and I worked together on some MTV promos and asked me to join the time. I said yes! Of course. They would be much better at telling you about the preproduction on the videos. Mostly they ask me a few weeks before we shoot them and it’s me and an assistant and Tom and Brennan and we shoot.
How long was the production schedule? How many days were you give to
prep/scout, shoot etc? How was your preproduciton time spent?
There was literally no preproduction for me. I think Brennan may have sent me the Mast Brothers website but I’m really busy – I shoot nearly 6 days a week so I didn’t have any time to even look at that. I didn’t scout the place either. For short doc work I almost never scout. For me, documentary cinematographer is really about going in there like you’re playing a jazz solo. You bring every single thing you know to that gig and you put it together as beautifully as you can. I have a photographic database in my head of every photograph and piece of film and painting that has excited me – and all I try to do is bring that to the table. I own a bunch of gear so I bring what I pretty much know I will need to light a mixed light environment during the day during the hour. I do scout – I scout for narrative work but for doc work I know where the sun is going to be when I arrive there and I pretty much just scout that morning. For narrative I take photos and I do diagrams and I measure things – find out where the power is, etc. This stuff is much faster and quicker - and I like to move as fast as possible.
We shot the video in about 11 hours I believe – I think we got there at 8am and left arond 7pm. We shot the bottle scene a month later - just me and Brennan and Tom – and we stole that shot. We went to the water in Williamsburg – a new park that opened up (I remember when it was just an abandoned factory – man that was so much more beautiful). Anyway it’s the water right where they discovered Spalding Grey’s body! We went to the water and snuck down as low as we could, put the camera on a high hat and Brennan put that bottle down there and we shot it a bunch of different ways.
We shot the Mast Brothers first by figuring out the lay of their factory then decided to do the interview. We had two cameras. And we shot the interview fast! The light was going to change. Two cameras side by side, Sony EX1 with letus ultimates with Nikon still lenses. Lighting for that was a 4×4 kino and I think a joker bug 800 . I don’t remember per say – this was six months ago. Anyway – it was a lot of natural light doing a nice consistent job – we were lucky!
The rest of the shoot we used kinos and the mighty joker and 1000 watt mogul bulbs outfitted in big custom Paper Lanterns I get from Laternlock.com. We would throw these big fun balls of light in different corners. We shot on the Indie Dolly and made sure to get lots of fun close ups of the chocolate process. As well as the boat. The boat was the important part of the video. These guys are modern-day adventurers. Had to make sure to get that. Also what I think was important that Brennan and us was able to get was their senses of humors – these are chocolate makers – it’s a fun playful industry.
Actually most credit goes to Brennan for his amazing vision – he asks the most interesting questions and makes whomever he interviews really really give incredible answers. He’s so talented!! He also has a vision for the shots he wants. I think he did a lot of preproduction.
Is there anything you think about while shooting? Something people have said? Hold the shot! Make sure to do Pre roll and post roll. Is the shot level? Is the shot interesting? Why are you shooting it? Are there any errors using the ground glass adapter? What if you put the light over there?
I live and die by editors and director’s feedback. I’ve had several editors and directors really help me out most. In terms of making
sure a shot is held long enough and building them a sequence of shots. A lot of different voices go thru my head, so much amazing guidance over the years.
What sources did you light the Mast Brothers video with?
Joker Bug 800, Kino 4×4, Kino Diva Lights, 1k mogul lights in chinese lanterns, Dedolights.
What camera did we shoot on and why?
Sony EX1 with Letus Ultimate 35mm adapter and nikon still lenses recording at 80 mpbs long-gop to the Nanoflash. I like the shallow depth of field and the contrast and saturation from still lenses over the stock lens. I use this antiquated system over HDSLRs because I don’t like the limited colorspace of H.264 and also I can record for hours and be confident I got what I need. Don’t get me wrong, the Canon 5D Mark II and the 7D are some of the most amazing cameras for the price, but for doc work the system I have just works better. I mean, of course I need more light than those cameras but still overall it’s better and more reliable. Speaking of the DSLR revolution, I’ll probably be getting two Panasonic AF100s when they come out hooked up to the Nanoflash. I can’t wait!! This new camera may be the next big thing!
Are you ever displeased with your own work after you finish a project?
And how do you deal with that?
So many times! I am the harshest critic of my own work! I can always do better. Why didn’t I light it this way? What’s up with that light over the ear? Why didn’t I think of that shot or that move? I deal with it by writing down what I did that I didn’t like and I email it to me. I have lots of notes about what I need to do. Shooting digitally has been a godsend because I can watch the dailies right away and identify issues. Also sometimes a better grading can make something 10000 more visually pleasing.
How has the Internet affected your career and the way people have seen
your work?
It has completely accelerated my career. The work I did on “Lessons from a Tailor” and “The Archive” has gotten me nearly 50% of the jobs I work on today. These short docs has yielded me so many quality projects. I just did a job with the director of Born into Brothels and Joan Rivers: A Piece of Work! (They are both the most amazingly-humble people – which really gives you hope for the world!!) All because these little films were there on the web for everyone to see. It’s amazing to be able to reach out to so many people beyond traditional film festivals. I love festivals – I love physically meeting people but it’s really a wonderful new way to be seen by everyone everywhere! It’s been such a positive influence in my life!
Is there anything that you have learned in your journey so far that you would like to share?
Never ever ever ever doubt yourself. And remember that it should be fun. Don’t get carried away by it all. It’s such a fun enjoyable career. Also read the internet forums! Like DVXUSER.com, DVINFO.net, ProVideoCoalition.com, Cinematography Mailing List (CML) – read everything. Get the books! The Five C’s of Cinematography, Young Cinematographers . And don’t forget the monthly Bible – American Cinematographer. Ask me – I’ll tell you more. These resources are invaluable.
If you could give your 15-year-old self what would you tell him?
Don’t be so nervous about everything. Relax and try to have fun. Keep working hard of course but don’t be so shy. Go out and try to see the world. Get up the courage to ask Jen Franklin out. You are a nerdy musician kid but it’s okay – at least try it… maybe she likes nerdy and lanky musicians. Also put down that Super Nintendo Controller and bike down the street – but don’t get hit by a bus - please!
