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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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The Art Of The DP Back to Reports & survey Listing

Tony Miller
Small Island, The Passion, Murphy’s Law, Zen, Killing Time



Working with a director, you have to start by listening. I try to avoid saying too much in the first meetings and try to get a strong sense of the director’s vision. Then I try and build on that vision and expand it visually. What is so exciting about working with directors is they are all different. The art of making films is so vast you have to collaborate, and it is these collaborations that make this job such a pleasure.

As a DP you are key in designing the look and making the visuals work on screen, but you do that with the input of many people, from your crew, the production designer, your gaffer and especially the director. You need a strong vision and you need to be decisive. You also need to be sensitive. Transposing those ideas on to the screen under pressure on the day often demands a shorthand with the director. But having said that, I did some of my best work with a director who I found very hard to understand.

The world has changed dramatically and continues to. I am currently very excited about shooting with older lenses and anamorphics and have just bought a set of Super Baltars that were used on the Godfather and a set of old Cooke S2 Panchros. The new digital sensors are so hard, finding lenses that give you new looks is now a major part of our art. I am just starting a BBC three-part mini series that is contemporary but we want it to have a period feel. So we are using the Cooke S2s.

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