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Director of photography: Difference between revisions
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→An example of cinematography
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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''. | 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'', 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 ([[DW]]: ''[[Rose (TV story)|Rose]]) is lit quite differently to her final one ([[DW]]: ''[[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 ([[DW]]: ''[[Rose (TV story)|Rose]]'') is lit quite differently to her final one ([[DW]]: ''[[Journey's End]]''). | ||
==List of directors of photography== | ==List of directors of photography== | ||
