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September 2018
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  • The Production 100
    Tim Dams introduces Televisual’s exclusive Production 100 survey of the indie television sector, now in its 26th year, and finds the rise of the streamers is creating opportunity –but also plenty of anxiety. The report includes the top 100 indies, the
  • The Genre report: Factual TV
    Demand for factual is growing as channels fight ever harder for audiences. Televisual Factual Festival producer Pippa Considine reports
  • All the Fun of the Fair
    ITV and Amazon’s new Vanity Fair adaptation demanded a period drama with a modern sensibility. But how was that balancing act achieved? Jon Creamer reports
  • The Art of the Vfx Super
    Creativity, tech know-how and a cool head are essential attributes for a vfx supervisor. Three top supers tell Jon Creamer how they help create screen magic
  • Channel 4's big move
    Three cities are still in the running for the new out-of-London Channel 4 HQ and three for the two creative hubs. The indies in those cities say the potential prize is immense. Jon Creamer reports
  • IBC preview
    IBC is a great place to check out both new launches and to get your hands on something already announced at NAB. Here’s a small taste of what’s likely to be on offer
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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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