Bots, emailconfirmed, Administrators
34,286
edits
Director of photography: Difference between revisions
From Tardis Wiki, the free Doctor Who reference
m
Updating links from Series 4 (Doctor Who) to Series 4 (Doctor Who 2005)
(→Job functionality: Fixing links to disambiguation pages, replaced: director → director) |
m (Updating links from Series 4 (Doctor Who) to Series 4 (Doctor Who 2005)) |
||
| Line 18: | Line 18: | ||
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. The first ''Who'' production undertaken at the [[Upper Boat Studios]], the difference between the two men's work was henceforth 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]]'') | 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 ''Who'' production undertaken at the [[Upper Boat Studios]], the difference between the two men's work was henceforth somewhat less pronounced. This can easily be seen by comparing any Taylor [[series 4 (Doctor Who 2005)|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 == | ||
