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Director of photography: Difference between revisions
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==An example of cinematography== | ==An example of cinematography== | ||
[[ | [[file: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. | 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. | ||
