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| DIGITAL SPOTLIGHT : Q&A |
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| PETER ROBERTSON - DOP |
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| What do you feel has been the most influential impact of digital technology on modern cinema and filmmaking? |
In the role of post production, editing, grading and effects. |
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| How has the role of the DOP changed? |
| It Hasn't. |
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| What are the key issues DOP’s should address or understand before deciding to shoot on digital format? |
| Contrast (not being able to handle it), Depth of Field, Lenses, Filtration. |
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| How do you compare shooting on HD digital to 35/16mm? |
| I do not, there is no choice, I would prefer to shoot on film. The only reason to use HD at the moment is because of Budget. |
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| What digital equipment you used on your last film? |
| I shot on Super 16 Arri SR3 +ArriSR2 |
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| In your opinion, what are the principal advantages and disadvantages of shooting on digital? |
The only advantage is financial and that point could be argued because of the time spent in post production trying to make it look like film!
The disadvantages are that it doesn't handle contrast well, it tends to suffer from a very hard picture, it also tends to look quite flat and the camera’s also see too much. Most of this can be rectified but it takes more time. |
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| Do you think new films shot on HD are raising the bar for filmmakers and encouraging them to work with digital in more creative ways? |
Certainly if you are working on HD you have to be creative to make it look good, but contrary to the myth, it has always been harder to light video and I do not mean not illuminate. |
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| What do you say to critics who believe Digital is simply a ‘cheap imitation’? |
HD has it’s own unique look and that look should be encouraged in every way. |
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| What advice would you give to cinematographers for preparing to shoot on digital with eventual plans to transfer to film? |
I would pay particular notice to choice of Lenses, Filtration and exterior scenes where it is difficult to control the lighting. |
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| What camera do you recommend to use if planning to transfer to film? |
Sony HD 900
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| What techniques would you use to make DV look like film? |
DV has an inherently softer look than other video formats so you are on a winner strait off. However, you can also use diffusion or strip out a field of video in post production to give it a more filmic look. |
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| Do you think it is important for cinematographers to stay up to date on the latest developments in digital filmmaking? |
It is important for cinematographers to stay up with all new developments in every aspect of filmmaking. |
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| In your opinion, has digital technology affected the overall input of the cinematographer in the final look of the film, especially in the post production stages? |
No, but digital technology has greatly increased the choices available to cinematographers when it comes to the look of a film, assuming of coarse that they are using a electronic grading system. If they are using the traditional method it makes no difference. For example, if you are shooting an anamorphic format (not super 35). |
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| Finally, what are you currently working on? What equipment have you chosen to use and why? |
Proof II and I am using the Arri SR3 + Arri SR2.
I choose this format because the budget allowed it and with the time allowed (fast turn around) it gave me the best possible look. |
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Credits For Peter Robertson- DOP
Feature/Drama-DOP
- Inside I’m Dancing
- Song for a Raggy Boy
- Donovan
- Proof
- Proof II
- Bogwoman
- Flesh and Blood
- Making Ends Meet
- Just in Time
- Most Important
- Disco Pigs (D.O.P Re-Shoots)
Television-DOP
- Waterways
- Voyage
- Celtic Myths and Legands
- From the Horses Mouth
- Portrait of Ireland
- McKenna’s Ireland
- Bolivia
- A Vertical Man
- Town and Country
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