1 The Director of Photography – an overview
1 The Director of Photography – an overview
1 The Director of Photography – an overview
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
194 Practical Cinematography<br />
Figure 21.6 A 4 � 3 section from<br />
the middle <strong>of</strong> a 16 � 9 frame<br />
But now let us look at what the purchasers <strong>of</strong> the programme for<br />
viewing abroad have to put up with. In Figure 21.6 I have shown the<br />
same scene with the 4 � 3 centre section recomposed. One undergraduate<br />
has now completely disappeared.<br />
This really is a ridiculous situation. If we were to frame the original<br />
for 4 � 3, then the 14 � 9 UK tr<strong>an</strong>smission will lose all the power <strong>of</strong> the<br />
frame <strong>an</strong>d in a 16 � 9 frame there will be no dynamic to the frame at all,<br />
as the two undergraduates will now be very nearly in the middle <strong>of</strong> the<br />
frame, a very boring composition. Do we really w<strong>an</strong>t to descend to this<br />
level <strong>of</strong> artistry in the name <strong>of</strong> future-pro<strong>of</strong>ing? Our real problem, at<br />
least until 16 � 9 televisions take over completely, is ‘now-pro<strong>of</strong>ing’.<br />
Here I must make a plea to the production <strong>of</strong>fice. Let us imagine<br />
you have had your initial tr<strong>an</strong>smission <strong>an</strong>d you are sitting back reviewing<br />
your great success.A call comes from the foreign sales department<br />
<strong>an</strong>d you order a 4 � 3 copy. Seems simple, doesn’t it? Now without<br />
further information your telecine operator is quite likely to assume<br />
you me<strong>an</strong> the old 4 � 3 <strong>an</strong>d put it up on a St<strong>an</strong>dard 16 telecine. It’s not<br />
his fault, <strong>an</strong>d please don’t shout at him <strong>–</strong> you should have asked for<br />
Centre Section Super 16 tr<strong>an</strong>sfer to 4 � 3.<br />
If you don’t, then the result will be as in Figure 21.7, since he will clip<br />
<strong>of</strong>f the left-h<strong>an</strong>d side <strong>of</strong> the film <strong>–</strong> the right-h<strong>an</strong>d side <strong>of</strong> the screen <strong>–</strong><br />
<strong>an</strong>d both undergraduates v<strong>an</strong>ish!<br />
Framing solutions<br />
If you are lucky enough to be shooting for the UK Ch<strong>an</strong>nel 4, then you<br />
are very fortunate. <strong>The</strong>y currently are quite happy to tr<strong>an</strong>smit drama<br />
in true 16 � 9, even on their whole output <strong>–</strong> with the appropriate<br />
letterbox <strong>–</strong> <strong>an</strong>d are heavily committed to the future <strong>of</strong> a Europe<strong>an</strong><br />
16 � 9 format. In fact, they seem to be the only ch<strong>an</strong>nel so totally committed<br />
on <strong>an</strong>y <strong>an</strong>alogue station in the UK.<br />
When shooting for m<strong>an</strong>y stations across the world you have to deliver<br />
in three formats. <strong>The</strong> current position in the UK seems to be that they
Change language