Director of photography: Difference between revisions
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A '''director of photography''' — often abbreviated '''DP''' or '''DOP''', and somewhat arguably interchangeable with the term '''''cinematographer''''' — is a key department head on the production of film and digitally-captured productions set in the [[Doctor Who universe|''Doctor Who'' universe]]. In charge of the lighting and actual filming of an episode, the DP is perhaps most simply thought of as the person responsible for the visual tonality of [[principal photography]]. Combined with the [[post production]] talent of the [[colourist]], the cinematographer is one of two key people whose artistic choices are indispensable to the way an episode looks. | |||
== | Consistently present in ''Doctor Who'' universe credits since [[Doctor Who (1996)|the 1996 Paul McGann movie]], the job has no true analogy in the [[1963]] version of the ''Doctor Who'' — perhaps mainly because the term is almost never applied to videotaped entertainment. Instead, the job of the modern DP was then effectively split between the "[[lighting director]]" (often completely uncredited, or listed under "studio lighting") and the "[[camera supervisor]]" (often completely uncredited or the first name given under "cameras" or "[[camera operator]]"). | ||
==Naming controversy== | |||
Though the term is often interchanged with the word ''cinematographer'', debate within the industry as to a definable difference between a "cinematographer" and a "DP" has meant that ''Doctor Who'' and its related programmes have preferred to formally use the credit "director of photography". Nevertheless, as some DPs, like [[Glen MacPherson]] and [[Ernie Vincze]], have been members of prestigious national societies of cinematographers, the line between a "DP" and a "cinematographer" on ''Doctor Who'' is a fine one. | |||
==Job functionality== | |||
On the [[BBC Wales]] version of ''Doctor Who'', the DP uses the [[American]] definition of the job. He — for a woman has not yet been a DP on any ''Doctor Who''-related show — is thus in full charge of both the lighting and camera departments. His principal duty is to design the lighting plan for the episode and to manage the technical details of actually filming it. | |||
== | People that report to the DP include, but are not limited to [[gaffer]]s, [[best boy]]s, lighting [[rigger]]s and [[camera operator]]s. The DP notionally reports to the [[director]], but relationship between the two is usually consultative and collaborative. | ||
==An example of cinematography== | |||
[[Image:DOPcomparison.jpg|thumb|right|250px|This un-retouched comparison of the work of Taylor and Vincze shows the two men's differing approach to lighting the interior of the TARDIS]] | |||
The short scene where [[Donna Noble]] and the [[Tenth Doctor]] initially met affords an unusual chance for the ordinary viewer to clearly see what the cinematographer actually does. [[Ernie Vincze]] had lit the original take of the scene in ''[[Doomsday]]'', but [[Rory Taylor]] was ''[[The Runaway Bride]]''<nowiki>'</nowiki>s DP. Because Vincze preferred to use gels that cast the set in blues and greens — and because Vincze tended to light for heavy areas of shadow in the [[console room]] — it would not have been possible for the production team to merely "lift" the scene from ''Doomsday'' and insert it into ''Bride''. So much of the episode was set inside [[the Doctor's TARDIS]], that the difference between the two cinematographers' choices would have been visually disharmonious. | |||
Thus, ''Bride''<nowiki>'</nowiki>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'', however. With the arguable exception of ''Tooth and Claw'', the interior TARDIS scenes almost always betray which of the two cinematographers was in charge during the [[David Tennant]] era of the programme. | |||
==List of directors of photography== | |||
:''See [[list of directors of photography|seperate article]]. | |||
{{wikipediainfo}} | {{wikipediainfo}} | ||
[[Category:Production team titles]] | [[Category:Production team titles]] | ||
Revision as of 01:51, 24 March 2010
A director of photography — often abbreviated DP or DOP, and somewhat arguably interchangeable with the term cinematographer — is a key department head on the production of film and digitally-captured productions set in the Doctor Who universe. In charge of the lighting and actual filming of an episode, the DP is perhaps most simply thought of as the person responsible for the visual tonality of principal photography. Combined with the post production talent of the colourist, the cinematographer is one of two key people whose artistic choices are indispensable to the way an episode looks.
Consistently present in Doctor Who universe credits since the 1996 Paul McGann movie, the job has no true analogy in the 1963 version of the Doctor Who — perhaps mainly because the term is almost never applied to videotaped entertainment. Instead, the job of the modern DP was then effectively split between the "lighting director" (often completely uncredited, or listed under "studio lighting") and the "camera supervisor" (often completely uncredited or the first name given under "cameras" or "camera operator").
Naming controversy
Though the term is often interchanged with the word cinematographer, debate within the industry as to a definable difference between a "cinematographer" and a "DP" has meant that Doctor Who and its related programmes have preferred to formally use the credit "director of photography". Nevertheless, as some DPs, like Glen MacPherson and Ernie Vincze, have been members of prestigious national societies of cinematographers, the line between a "DP" and a "cinematographer" on Doctor Who is a fine one.
Job functionality
On the BBC Wales version of Doctor Who, the DP uses the American definition of the job. He — for a woman has not yet been a DP on any Doctor Who-related show — is thus in full charge of both the lighting and camera departments. His principal duty is to design the lighting plan for the episode and to manage the technical details of actually filming it.
People that report to the DP include, but are not limited to gaffers, best boys, lighting riggers and camera operators. The DP notionally reports to the director, but relationship between the two is usually consultative and collaborative.
An example of cinematography
The short scene where Donna Noble and the Tenth Doctor initially met affords an unusual chance for the ordinary viewer to clearly see what the cinematographer actually does. Ernie Vincze had lit the original take of the scene in Doomsday, but Rory Taylor was The Runaway Bride's DP. Because Vincze preferred to use gels that cast the set in blues and greens — and because Vincze tended to light for heavy areas of shadow in the console room — it would not have been possible for the production team to merely "lift" the scene from Doomsday and insert it into Bride. So much of the episode was set inside the Doctor's TARDIS, that the difference between the two cinematographers' choices would have been visually disharmonious.
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, however. With the arguable exception of Tooth and Claw, the interior TARDIS scenes almost always betray which of the two cinematographers was in charge during the David Tennant era of the programme.
List of directors of photography
- See seperate article.
