FILM is a visual medium. Aside from the director and writer, a cinematographer plays a crucial role in creating the image on the screen. Set-up time is work time for a cinematographer while it's rest time for the actors and crew. A cinematographer has no time to relax on the set beacuse he is busy lighting the location and framing the camera. Saturday Special interviews four budding cinematographers in their newlyfound field.

For three years, Louie Quirino, 35, was out of a job. After he shot "Mother Ignacia," everything turned around. He did three feature films in a span of six months. He is credited with Gil Portes' "Saranggola," Lav Diaz's "Hubad sa Ilalim ng Buwan" and Nick Deocampo's upcoming, "Pedrong Palad."

He describes Diaz as a very laid-back but firm director. "On 'Hubad sa Ilalim ng Buwan,' I hardly had any pre-production. In fact, I did not start the film and Lav guided me through the shooting while allowing me all the freedom I wanted. He has very definite ideas regarding camera placement and movement."

Deocampo has a lot of energy. "He's a director who is always on the lookout for new ideas,'' Quirino says.

For Robert Quebral, being a cinematographer is his stepping stone for directing feature films in the future. Quebral is best known as the director of Parokya ni Edgar's "Harana," winner of the 1999 MTV Southeast Asia Viewer's Choice Award. He has also directed the music videos of Francis M, Sunvalley Crew, Rivermaya, True Faith and Barbie's Cradle.

He is currently shooting his first feature as a cinematographer, Gil Portes' "Huwag Kang Kikibo, Siya ang Hihipo." On their first shooting day, Quebral had to shoot a montage of Priscilla Almeda walking through the city in a dream-like sequence. The highlight is Almeda standing naked on a balcony of an old building on Recto ave.

He describes Portes as a conceptual director. "He explains the emotional and psychological needs. He knows the objectives of the scene. Hahayaan ka niya. Lahat ng sabihin mo, open siya." Quebral also teaches film production, cinematography and editing at UP Diliman.

Neil Daza, 34, studied Fine Arts at UST. His painting background led him to still photography, which eventually developed into a passion for cinematography. He started the pre-production test shoots and shot some scenes of Mike de Leon's "Bayaning Third World." He is credited for one of the episodes of the twin bill, "Flames, The Movie" and Chito Roño's new film, "Laro sa Baga."

"I learned from direk Mike the discipline needed in filmmaking. Maraming criticism na mahirap siya katrabaho but I think yung approach niya sa filmmaking as a director, ýon yung tamang attitude. Buo ang concept niya, hindi lang sa story kundi storytelling through cinematography, design and sound. He jells all the elements," says Daza.

Daza insists on attending pre-production meetings with his directors. With De Leon and Roño, "Klaro kaagad yung gusto nilang look and visual treatment." He adds, "I would insist na matindi yung pre-prod, or we talk about the scene before the shoot. I get my visual inspiration ahead of the shooting day so kailangan pag-usapan muna namin and then doon maglalaro yung visual treatment ko."

In "Laro sa Baga," Roño would first discuss with Daza the blocking of the actors. "For some scenes, specific siya sa camera placement and shot size. For some scenes, hindi naman so collaborative yung effort namin."

Shayne Sarte Clemente, 26, started in advertising as an account executive and trained under ace cinematographer Rody Lacap. Her film credits include Jeffrey Jeturian's "Pila Balde" and Maryo J. delos Reyes' "Paraiso ni Efren." She is currently shooting Viva Films' "Linlang" with Delos Reyes.

Newly married, Clemente didn't know if she should concentrate on her career or start having a baby. "I did not expect the film projects. Nabigla ako. Nagkaroon kaagad ako ng break. I just hope that in the future, I can balance my family life and career," she says.

She describes Jeturian as a fast thinker and a very organized director. "Mabilis siya mag-isip sa set. Darating yan sa shooting, may yellow pad, naka-number na lahat ng shots niya, kaya tuluy-tuloy ang shoot. He gave me all the support I needed since 'Pila Balde' was my first film."

With Delos Reyes, her first question was, "Is he willing to work with a new DP (director of photography)?" Clemente was unsure and nervous on her first shooting day. "Kabado ako, sobra! Nakaka-intimidate kasi he's an established director and minsan may pagka-moody. The first shooting days, kung ano ang sabihin niya, oo lang ako ng oo. Until one time, maaga na pack-up, lumabas kami. He told me not to get intimidated and to make suggestions. From then on, we collaborated on the set. He is a very good collaborator," comments this De La Salle Communication Arts graduate.

The new cinematographers describe their anxiety on the set: "Pressure for me is when the director starts demanding something he knows I cannot give. Pressure is when the director loses his cool. Pressure is when new scenes are added or when locations are changed at the last minute, so all my preparation becomes useless," says Quirino.

One wrong move of the camera is a disaster, according to Clemente. It would affect all aspects of the production, like the costume, props and actors' blocking. "Sa lahat ng nakikita ng audience on the screen, ikaw ang unang nakasilip doon. So, kung ano man ang mali, dapat na-correct mo na bago mapanood ng audience mo," he says.

Their advice for future cinematographers is to study still photography, learn good composition and proper lighting, read film books and make their own short films. All four started making their short films at Mowelfund Film Institute. "Kung gusto nilang mag-DP, look for an apprenticeship. Start young. When I started, nag-o-observe lang ako sa set, walang talent fee," shares Clemente.