Isapelikula 2: Cinematograpy
by Matthew Fernandez
edited by Joshua Chan
As a heavily visual medium, it is no surprise that one of the biggest heavy-lifters of film is the art of cinematography. It is important to note, however, that the art of cinematography lies beyond how the camera is held. “If you want to do filmmaking, importante na you have a know-how in cinematography,” said film director and Triptiko (2017) cinematographer JT Pandy. The former Loyola Film Circle president recently spoke at the second IsaPelikula class held on November 3, 2017, discussing the basics of cinematography as well as providing a live demonstration of useful tricks that can either make or break a shot.
Pandy, a former management student that shared his love for film through being a member (and eventual president) of the Loyola Film Circle, eventually followed his heart and ventured into the world of film. While he started out as a production assistant in advertising and he later decided to pursue cinematography and eventually, directing. “I’m more of a guy who likes going to spaces, carrying heavy things,” he recalled. “I like doing the dirty work, as they say.” Today, Pandy is renowned for his cinematography, including online videos for brands such as Smart, Bench, and Rebisco, the GMA drama series Titser, and his frequent collaborations with director Alvin Yapan such as Debosyon (2013) and Ang Kubo Sa Kawayanan (2015).
Kicking off the lecture, Pandy gave his own take on cinematography, describing it as a mix of science and art. In his view, the science of cinematography dealt with the process and technology involved in taking the shot while the art revolved around the mise-en-scène (“placing on stage”), a concept in which every element that appears in the frame communicates with the audience. As a result, Pandy added that cinematographers are thus responsible for everything on stage and must frequently collaborate with not just the directors, but even the actors, production designers, among others.
Pandy further built up on this message of cinematography being science and art by enumerating the basics of cinematography. These included frame composition, lenses, angles, movement, camera settings, color, and lighting. Each element may be tackled in various ways for different effects. Lighting-styles, for example, can either be high-key (every detail is lit to promote an upbeat tone) or low-key (where shadows are more prevalent to instill a sense of dread). He then emphasized that so long as there is intent behind each element, any method is free to use, and there is no ‘best’ method.
The lecture then got exciting as Pandy began to demonstrate different lighting tricks based on the three-point lighting technique, showcasing the effects of positioning, shadows, soft lights, and hard lights. He also assured that despite using an assortment of professional lighting equipment in the demonstration, proper lighting can still be achieved on a low budget using common light sources (natural or artificial) and a board of styrofoam (which is useful in reflecting or cutting light).
Pandy then closed the discussion by imparting a couple of tips for any prospective cinematographer, pinpointing hacks such as backlighting and bokeh. Along with this, he discussed the importance of values in cinematography such as collaboration, foresight, and personal growth.
Ultimately, this recent IsaPelikula proved to be an engaging introduction to cinematography. JT Pandy, despite being a self-confessed amateur at lecturing, was able to deliver an effective demonstration of skills and techniques which paved the way for the attendees to explore the complexities of the art of cinematography – underrated in recognition, but completely essential in its role in film.
Photos by Regine Salumbre