The way i see it tv#

I really notice when I operate the camera, versus someone else operating it. I like it when youвЂ™re trying to get a different look or feel to the film and you get someone else to shoot it. I did some concert films and music videos with him, then we did Submarine. Through them I met Julian Barrett, we did this short film called Curtains, which was bonkers, absolutely brilliant. Then I met a producer called Diarmid Scrimshaw, who introduced me to Warp Films. After graduating I worked with him on shows like Doctor Who, Torchwood, and Holby City.

The way i see it tv#

I met a guy there called Colin Teague who became a TV director. We must find the other bit and splice it.вЂ™ and then itвЂ™s out of sync with the sound. You have to remember that that bit and this bit have to go together, and then itвЂ™s, вЂOh no, we cut a bit too soon. You cut it, then splice it youвЂ™ve got to hang it up in a certain way. I think itвЂ™s great to learn all the bits first. It was just a general course and then you specialised. I think that was a good thing about that film school. You realise that the artistic aspect can come later.В It wasnвЂ™t a specific course in being a DP.

When I was at film school I got interested in how the cameras worked. I didnвЂ™t exactly have the goal of becoming a cinematographer. Anything to get away from Norway sounded good, to be honest. Going to film school in London sounded interesting. There I discovered that other people have been making movies apart from just Americans.

Anything to get away from Norway sounded good, to be honest.ДЄged 20, I went to The London Film School in Covent Garden. I always thought I was going to go to music school, then I didnвЂ™t. My mother was a tutor and my father was in shipping. I didnвЂ™t have a particularly artistic background. ItвЂ™s NorwayвЂ™s second city but a tiny town by world standards, with all of 300.000 people.