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November 2018
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In the magazine
Only available in print
  • The Facilities 50
    Jon Creamer launches Televisual's 31st exclusive annual Facilities 50 survey featuring the top post production houses in the UK and 48 pages of analysis of the sector
  • The Commercials 30
    Jon Creamer introduces Televisual’s exclusive Commercial 30 survey, reporting on a year of highs and lows for commercials producers.
  • The Drama Genre Report
    With competition from streamers intensifying, UK broadcasters are exploring new drama strategies. Tim Dams reports
  • Primary Colours
    Five leading movie colourists tell Michael Burns the secrets of their craft, and explain the techniques they use to grade movies like The Danish Girl, Peterloo and Baby Driver
  • Up, up and away!
    Thanks to advances in camera technology, the possibilities of aerial filming are greater than ever before. Pippa Considine reports on some of the year’s standout aerial projects
  • OB: Which Way Now
    The OB industry is embracing major change as it adapts to the worlds of UHD, HDR and IP. Michael Burns reports
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Reports&
surveys

The Art Of The DP Back to Reports & survey Listing

Mark Patten
Prometheus David 8 viral, 10 Minute Tales, Metro last night,  Darkroom



Once the location of a shoot is set, I like to get a feel for how the set should be lit. I light the set so it doesn’t detract the viewer from the narrative but complements the actors and allows the director to shoot the scene without the complexities that might hinder or distract from the scene in any way. To this end, I feel it’s important to light the scene as simply as possible, so as not to distract the viewer with a crane move or dolly track that doesn’t need to be there for cinematic punctuation and only leads the viewer away from the storyline. I like to leave establishing the look of the lighting until the technical recce; the moments of discovery on a recce often set the tone to where the lighting will end up. The advances that continue to be made in motion image capture never cease to amaze me. It has become increasingly cost prohibitive to shoot on film on many commercials projects, but many feature films still embrace 35mm negative as well as 70mm film. Even so, films such as Gravity have totally used the advances in digital cinematography to produce excellent results.

The DP’s collaboration between both production and the director’s vision may sometimes lead to friction, but what must never be lost is the collaborative process filmmaking adheres to. This is what leads to a successful production, as well as securing future projects. Diplomacy between all departments must be of utmost importance; the creative ego can be a fickle creature.

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