DOP IN TV SERIES
knowing that I'm just going to watch this and this is all I'm going to do now. I think the world without distractions is very hard to find now. It's so rare to find anywhere where you are not constantly distracted by other things. I think cinema is one of those things. It's a bit like going for a walk in nature where you haven't got mobile reception. You go in and you're committed to something for two hours. I don't think you can beat that, really.
We were talking about platforms, and we often required larger formats, like 4K or 8K. How do you feel about working with those formats and with these characteristics? Platforms are dictating 4K or 8K due to delivery requirements. I can see that the quality is better, but I do not know that I care too much. It is more about what the delivery actually is. Of course, we want whatever we shoot to be future-proof to some extent, but my first experience was that I 50
Photo by Tine Harden.
really wanted to shoot on the ALEXA cameras. I wasn’t allowed to, because I had to deliver 4K at the time. The first thing I had to do with 4K was an American series called “11.22.63”. The ARRI camera could only deliver 2K, so I was forced to shoot on a RED camera and I wasn't really very comfortable. Once you get going with a project and you shoot, it doesn't really matter what you're shooting on. You just get used to it, and you
get on with it. On the other hand, it’s great that the image quality is getting better and better. As cinematographers, we could try and do different things. You can push your develop in a different way to change the look. I think now many people are trying to do different things to put their fingerprints on whatever they shoot. I think it's a balance between the two, really. It's amazing when I watch some nature
