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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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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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