What do I *actually* do as your DOP?

My Job as a DP is to facilitate everything you see on screen. Right up until just before the motion graphics.

Working with the Director we decide the style and scale of the project. If appropriate I create shot list and story boards as well as collect inspirational pieces so everyone is on the same page before filming begins. Next, I decide what equipment we’ll require and with my contacts at rental houses as well as my collection of personal gear I create a package that will achieve our goal. I also work with the production coordinator to hire the correct team for the job and match the required skill set with the challenge at hand.

there is often a location scout where I can plan ahead, see the location, check the electrical and environmental needs, and figure any logistics of loading in/out to make the day(s) as seamless as possible. While a location scout is ideal, in my 10+ years of filming on location I know anything can happen and have developed an ability to pivot and readjust easily.

On the day(s) of filming I am the head of the camera and lighting departments. Depending on the size of production this can be as little as a one person department like on many Doc style shoots. But is most often in my career a 3-5 person team. Regardless of the size I usually choose to operate the main camera myself.  
The camera and lighting team create dynamic images to help tell the Directors story.  It also includes things like framing with space for graphics.  Doing multiple shots for multiple aspect ratios (vertical, horizontal, square), And understanding how each piece will fit into the final and working towards creating a cohesive look and feel.

This is the main part of the job that everyone thinks of when they think of Lights, Camera, Action! If the earlier location scout and planning is done well this is also just the execution part of the job. If everything goes as planned it should be paint by numbers. I however know A) nothing ever goes as planned. And B) the best things are often spontaneous. I like to have a plan in my back pocket but be willing to leave it there. My job is to be prepared enough and understand the mission enough to be fluid and ‘make the day’ no matter the speedbumps.

The less glamorous size of the lighting and camera team I am in charge of is making sure we put as little stress as possible on the location and as little stress as possible on the crew. Loading gear in and out and only bringing what we need as well as having solutions at the ready for any surprises keep everything running smoothly onset. In a perfect world we have trucks full of equipment at the ready just off screen. But my specialty is in being prepared before the shoot I avoid waste and bring what I need and use what I bring.

After the shoot the footage is handed off to the editor and sometimes that is the end. Often however I also colour grade projects I work on. Having graded multiple commercials for broadcast and online delivery I know how finicky getting the colour just right can be. Especially with things like make-up brands and car commercials.  Thanks to my experience grading I occasionally will create a custom LOOK to be used on set and allows everything to be streamlined. When every monitor has a close-to-final image for director and client alike there is less guess work and more action. My experience as an editor and a colourist Is also why I prefer to operate the camera. Knowing how and when something will cut informs how and when I move - or don’t move - the camera.