Cinematographer & Director of Photography
IATSE ICG Local 600 – Based In Cleveland, Available For Travel
Cinematographer Ryan Forte

Hi, I’m Ryan Forte, and I’m a cinematographer based in Cleveland, Ohio working as a Steadicam Operator, Camera Operator, & Director of Photography. I believe outside of the technical expertise, that collaboration is key and after a 12 hour day character shines through… I have a passionate love for filmmaking and real world experience to back it up. Gaining experience from a diverse set of production styles such as narrative feature films to high end commercials, comedy specials, music videos, and much more; I bring my unique perspective to every project to help translate concepts and ideas into cinematic visuals. Filmmaking is a team sport and it is really amazing how each role can really add their own style to the end product. It isn’t one person that makes a great film, and one person can’t take all the credit. It’s the collaboration of talent & crew that makes something “cinematic” and impactful to the audience.

I believe camera movement (or lack of) is a huge component of telling a visual story. By specializing as an operator with expertise in steadicam, gimbals, and camera cranes; it offers a unique perspective that can make for a fantastic collaboration with Directors & other DoP’s. In essence bring life into productions through the use of dynamic opening shots, long one takes, music performances, live camera work & “impossible shots.” The goal is always to take something that is already great and make it better!

Cinematographer & Steadicam Operator

 

Cinematography Fueled By Inspiration, Creativity & Purpose

Cinematography

As you begin pre-production on your TV shoot, film, or commercial video the cinematography is often the catalyst of inspiration. Movies, images or productions similar to your vision can influence the beginning of your concept.

The biggest difference between a cinematographer and videographer is conceptualization of the visuals with intention and purpose behind the choices as a visual artist. Actively making aesthetic choices pushing towards a desired end result that resonates with your intended audience. This part of the production process is the most exciting, freeing, and fulfilling part of being a cinematographer; as we begin to critically think about production goals and start to direct the photography of your shoot to get the desired end result. This active collaboration between a Director, Director of Photography, and Camera Operator is what makes creative and interesting shots possible.

Cinematographer
Director of Photography

Director of Photography

When working as a Director of Photography, I focus on the script, collaborating with the director. In pre-production I pour every ounce of creativity into the concept and what it will take from a technical perspective to accomplish this on set. As the age old saying goes:

“You are only as good as your team”

I strive to surround myself with the right people for the production; include every specialist, artist and crew member in my departments that will bring creativity, efficiency, and work to a common goal and desired look right in line with the director’s vision.
Once on set working with the gaffer, camera operator, DIT, & the rest of my team, it becomes a chess game that every director of photography plays. Taking all the pre-production materials, combining them with the conversations with directors and producers, that gets funneled into an established style and theme adhered to for each and every decision made. The intention behind the image is just important as the execution of it. This is what separates cinematography and videography. My focus is simple, make great content that serves the story.

They say every film is made three times. Once when it is written, twice when is shot, and a third time when it is edited. While I leave the edit to the director & post-departments, I love being involved with the color grade. This finishing process can add another layer of visual storytelling that compliments the story and sets the tone for the piece. Two different color grades can render totally different results from the viewer. Knowing where you are going with the color grade in post should be accounted for in production as it will impact decisions like lens choices and lighting direction. From start to finish the Director of Photography’s role isn’t finished until the movie is released.

Let’s Discuss The Unique Needs of Your Production Today!

Role of the Camera Operator

With a dedication to precision in camera movement, finding the right tool for the job is always the concern. Knowing when to call for the Lambda head or transition to a handheld shot in the fading sunlight in order to make the day can be the difference between finishing a scene and having to come back for pickups potentially pushing a production over budget.

When working out the logistics of a shot on set, communication is key. The on set collaboration between departments and talent is an art just as much as a skill developed over time. That special feeling when everything falls into place to create magic can only happen when every department works together to accomplish both the technical and creative. Knowing the tools, the team, and the story makes the Camera Operator a vital member of the crew.

Camera Operator Ryan Forte
Camera Movement Specialist

Specializing in Camera Movement

Use of Steadicam, Camera Cranes, Gimbals, Handheld, Remote Heads, Dollies, Drones, and other forms of camera movement & stabilization is how we speak the visual language. Each shot developed, whether on set or with a story board, uses one of these tools to execute the proper framing throughout the length of the shot. A critical understanding of all these tools, the skills required to operate them, and the support of the rest of the crew on set that allows us to “Get the Shot.”

One of the most important parts of camera movement is understanding when not to move just as much as moving. The relationship between timing, blocking and framing can make shots feel cinematic….or just wrong. Even great ideas on paper don’t always work out the way they are planned. This balance and relationship is vital to the filmmaking process. It’s essential for all Directors of Photography, Cinematographers, and Camera Operators to understand this in order to effectively execute planned visual concepts on set.

Bring Refined Camera Work To Your Production!
Steadicam Operator

Steadicam Operator

I am an owner and steadicam operator equipped with a Tiffen M2 Volt Steadicam & Sled with a Built in Volt Gimbal. This fantastic technology offers more than a level horizon; it allows you to operate your sled in neutral balance. This allows you to flip to low mode without rebalancing your rig while offering amazing set features such as Sticky Mode. This allows the sled to electronically hold extreme tilt angles while maintaining a level horizon requiring less takes and time to execute extraordinarily challenging dynamic shots.

Aside from the fantastic technology underneath the Steadicam system, it is about working out the shot, blocking, setting marks, rehearsing, and making adjustments to improve each take making it the most it can be. It’s important who you choose to work with since an operator can offer more than moving the camera through space… You want a leader, a creative, and most importantly another filmmaker to work with you to ensure you accomplish what you set out to do.

Three Axis Gimbal Operator – Movi Pro & Ronin 2

Three axis gimbals can be poor replacement for many other tried and true tools on set. That is because they are often a choice based on budget or just a general misunderstanding of their strengths and weaknesses. They are an incredible technology, offer the stabilization and control of a remote head with the freedom of a handheld camera. At times they can be invisible to the audience and others

Drones, Segways, Cranes and Magnetic Quick Releases are all ways you can expand the possibilities of what you can accomplish with a Movi Pro or Ronin 3 axis gimbal stabilizer. If there is a shot that requires someone to attach a camera to a crane through a window or descend 300 feet out of the sky into a close up, then a 3 axis gimbal is definitely the tool for the job. It’s important to know the limitations and possibilities gimbals offer in order to use them effectively. As an owner operator I have spent years working with them professionally to fully grasp when to use them and when not to

Gimbal Operator Movi Pro Ronin 2
Contact Me To Start Discussing Your Production!