DOP IN TV SERIES
performance, the cinematography, the production design, costume and all departments coming together to achieve this. It’s a delicate balancing for these to all work in unison.
What’s your vision of the profession? What’s your goal when you get involved in a project? My focus is always to serve the story and to collaborate with a Director to develop the appropriate visual language.
How is Kate McCullough on set? How do you like to get involved in filming? I’m generally calm, I like to work on a quiet and respectful set. I get very mono focused towards my work. I like to shoot with purpose and rigour.
Generally, DoPs are influenced by cinema cinematographers. After all, that’s part of their film education. Anyway, we live in times where we find brilliant creativity in TV series and VOD platforms. Has 58
a television cinematographer influenced you? Can you recall a particular TV series that caught your attention? What Marcell Rev brought to “Euphoria” was incredibly fresh, dynamic and although it was loud at times it was always anchored into the emotional journey of the characters. Jacob Ihres choices on “Chernobyl” brought a real weight and sense of the audience as witness to this traumatic material.
What’s, in your opinion, the most challenging part of your job? Time.
Is there room for creativity in current cinematography in TV series? Do you think there are ways to be innovative when approaching, for example, an intimate scene from a cinematographic perspective? Sure, I wouldn’t be in this business if I felt I could not express myself in some way through my cinematography. It’s
central to my curiosity and passion for filmmaking. There are opportunities for innovation but you have to be clever when to use them. For me they should not draw attention to themselves for the
