Director of photography: Difference between revisions
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== An example of cinematography == | == An example of cinematography == | ||
[[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]] | [[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 (TV story)|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. | 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 (TV story)|Doomsday]]'', but [[Rory Taylor]] was ''[[The Runaway Bride (TV story)|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''. | 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. | 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. The first production undergone at the [[Upper Boat Studios]], the difference between the two men's work henceforth 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 resultant imagery 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 == | ||
