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Thus, ''Bride''{{'}}s director, [[Euros Lyn]], was obliged to re-shoot the entire scene with Taylor's preferred lighting, matching it shot-for-shot with [[Graeme Harper]]'s work on ''Doomsday''. | Thus, ''Bride''{{'}}s director, [[Euros Lyn]], was obliged to re-shoot the entire scene with Taylor's preferred lighting, matching it shot-for-shot with [[Graeme Harper]]'s work on ''Doomsday''. | ||
At right is a comparison between the two takes of the scene, taken from exactly the same moment in the respective takes. The dramatic difference between the two clearly illustrates the impact a cinematographer can have on a scene, but also instantly reveals Taylor to be a director of photography who preferred rich, warm colours, like reds and yellows. It also shows a penchant for strong, even lighting in interior TARDIS scenes. This preference was not limited to ''Bride'', but the [[Christmas special]] was a kind of turning point. Afterward, the difference between the two men's work was somewhat less pronounced. This can easily be seen by comparing any Taylor [[series 4 (Doctor Who)|series 4]] episode to any Vincze series 4 episode. Even greater proof of the shift in Vincze's design philosophy can be plainly observed by comparing his series 1 episodes with his series 4 work. Rose's initial scene in the TARDIS ([[TV]]: ''[[Rose (TV story)|Rose]]'') is lit quite differently to her final one ([[TV]]: ''[[Journey's End]]''). | At right is a comparison between the two takes of the scene, taken from exactly the same moment in the respective takes. The dramatic difference between the two clearly illustrates the impact a cinematographer can have on a scene, but also instantly reveals Taylor to be a director of photography who preferred rich, warm colours, like reds and yellows. It also shows a penchant for strong, even lighting in interior TARDIS scenes. This preference was not limited to ''Bride'', but the [[Christmas special]] was a kind of turning point. Afterward, the difference between the two men's work was somewhat less pronounced. This can easily be seen by comparing any Taylor [[series 4 (Doctor Who)|series 4]] episode to any Vincze series 4 episode. Even greater proof of the shift in Vincze's design philosophy can be plainly observed by comparing his series 1 episodes with his series 4 work. Rose's initial scene in the TARDIS ([[TV]]: ''[[Rose (TV story)|Rose]]'') is lit quite differently to her final one ([[TV]]: ''[[Journey's End (TV story)|Journey's End]]''). | ||
== List of directors of photography == | == List of directors of photography == | ||
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=== Aerial DOP === | === Aerial DOP === | ||
Aerial DOPs are somewhat rare in the history of ''Doctor Who'' generally — much less the BBC Wales version. This is because it involves camera work from within a helicopter or plane — and these sort of shoots have historically been too expensive for the budget of ''Doctor Who''. Nevertheless, an aerial DOP was known to have been employed on the opening sequence of ''[[The Eleventh Hour]]''. ([[WC]]: ''[[Doctor Who Video Explorer]]'') | Aerial DOPs are somewhat rare in the history of ''Doctor Who'' generally — much less the BBC Wales version. This is because it involves camera work from within a helicopter or plane — and these sort of shoots have historically been too expensive for the budget of ''Doctor Who''. Nevertheless, an aerial DOP was known to have been employed on the opening sequence of ''[[The Eleventh Hour]]''. ([[WC]]: ''[[Doctor Who Video Explorer]]'') | ||
[[Category:Production team titles]] | [[Category:Production team titles]] | ||
[[Category:Directors of photography| ]] | [[Category:Directors of photography| ]] | ||
[[Category:Cinematography]] | [[Category:Cinematography]] | ||