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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. | 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. | ||
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== An example of cinematography == | == An example of cinematography == | ||
[[File:DOPcomparison.jpg|thumb|right | [[File:DOPcomparison.jpg|thumb|right|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]]'' | 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'' | 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]]''). | ||
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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]] | ||
