Behind the Lens – Episode 2

Steve Lawes & Nic Morris BSC – Shooting TV Drama

In this episode we talk with two highly successful DP’s working from the UK.

Steve Lawes

Steve won a BAFTA for his work on the hit BBC series Sherlock and has a decorated career shooting prime time TV drama on both film and digital formats. His credit list is impressive.  I’ve had the privelage to work with Steve on two occasions now – I shot the BTS for providence a film shot by Steve made with director Martin Scanlan on the Sony FS100

Nic Morris BSC

Nic has worked on features such as Firelight, Before You Go and Alien 3 and some of my favorite TV series including being Human, Hustle and Spooks.

In this interview we discuss working on big scale production and some of the pressures involved in those productions and:

What really is the Role of a DOP?

• the work is done in Pre Production
• selecting a crew
• digital workflow
• developing the visual narrative
• creating a good digital negative for the film’s producers

Regardless of your level – focus on telling a story

• learn to get into the script
• then understanding how to manufacture that story
• how Photography is like driving a car
• the vital aspect of collaborating with the different departments
• the value of Classic al Art and Photography

How important is Light?

• creating mood, atmosphere  ‘the world’ of the movie
• how to use stills to learn about mood and framing
• learning how to accept differences in style and creating your own

The importance of gaining experience

• creating seamless sequences when they might be shot over multiple days
• getting real about discipline and time management
• the schedule can be punishing
• the danger of over indulgence on the shooting day

Having a healthy respect for compromise

• the DP is part of the management team
• maintaining respect from your audience
• always aiming to make the film the best it can be

On Set essentials

• the guests reveal their secret tools and tricks on set
• working with a single source
• the power of the reflector

How much input does the DP have on camera format?

• when does the format get decided
• choosing the right camera for the job
• the importance of camera specific tests
• testing the workflow from start to finish
• on set grading with speed grade
• the collaboration with the Colorist

Going Beyond filmic

• learning to appreciate HD
• the camera is only a capture medium
• work with systems you know and trust
• learning to be bold with framing
• there is geography in a scene but no rules that can’t be broken

Production Credits

Shot on three SonyPMW-F3 at Westminster Live Studios.
All equipment supplied by Shoot Blue www.shootblue.tv

Filmed at Westminster Live Studios

Westminster Live

Lighting Director – Richard Hill

Sound Engineer – Shami Naidoo
Make-up Artist – Barbara Mensah
Studio Manager – Sharaz Ali
Studio Technician – Daniel Howard
Studio Technician – Isidro Montero
Shoot Blue

Senior cameraman – Mark Pengelly
Cameraman – Adam Parker
Cameraman – Duncan Rice
Vision Mixer – Jon Howarth

Post Production – Hangman Studios

Offline Editor – Dave Bulliavnt
Online and Grade – James Tonkin
Sound Mix – Alan Witts
Titles and Graphics – Iain Armstrong

Production Company  Televisual Media UK Ltd

Directed and Produced by – James Bennett

For Sony

Executive Producer – Dan Robb

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