Subscribe Online  
 

September 2018
£15.00


In the magazine
Only available in print
  • 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
From the magazine
Available to read online
Read >>

Reports&
surveys

The Art Of The DP Back to Reports & survey Listing

Ed Wild
Fleming, Prisoners of the Sun, Welcome to the Punch, Chalet Girl, Shifty



Making a film is a balancing act, but everyone involved just wants to make a great film. Sometimes people’s views differ on how a great film should be made, particularly in prep. These conversations are absolutely vital to the filmmaking process because in amongst all the viewpoints of these talented and committed people there is the heart of the film you’re all trying to find. Sometimes passions run high in these conversations and listening is a more important talent than speaking. But when you do speak, make sure your argument holds together, rather than just voicing an opinion simply only to have voiced an opinion. Because time is precious and hot air wastes time. Being a DP is a wonderful crossover between the creative and the technical. I always start in the creative form, as I read the script, themes and visual ideas come to me. I mull over the ideas, discuss them with the director, and then later you creatively use your technical knowledge to achieve those things. But technique should never override the ultimate aim of emotionally connecting the audience to the film.

Learn to light sets by travelling loads and look at how light falls everywhere from the mundane to the extraordinary location. Shoot loads of stills. Try and build up a library of stills, films and paintings – you’ll not only learn a lot, you’ll get a sense of the aesthetics that make you happy. You’ll also have a library of images that will help you communicate your ideas.

More Chapters

 



Televisual Media UK Ltd 23 Golden Square, London, W1F 9JP
©2009 - 2017 Televisual. All rights reserved
Use of this website signifies your agreement to the Terms of Use | Disclaimer