Major Production - Research on Matt Wicks - D.O.P

So for this unit, as my role within it is being the cinematographer, I need to get a better understanding of shooting bigger projects as this one will be the largest yet in terms of everything. I thought there wasn't really a better way for me to grasp what it takes and what i'll need to consider before I shoot, than to make contact with professional D.O.P's already out there, that're currently working on similar content to what i'll be shooting.

The first D.O.P I made contact with was Matt Wicks - 

Below are two screenshots of his work from series one and two. I've selected these two as they highlight perfectly what I want to to discuss about his work and how he manages to shoot his projects.

The first image i've dotted out and enlarged specific parts of the shot that portray what I believe is a beautiful and consistent colour scheme throughout this series. As this series is meant to be shot like a documentary, (PJDN is a mockumentary style sitcom) following the lives of a group of underground pirate radio station 'chiefs' who love DnB and garage, it's all handheld and meant be seem naturally lit. The lighting is key throughout the series, being extremely consistent with it's indoor scenes and outdoor ones. The handheld camera aspect adds to the authenticity of the piece, allowing the audiences experience of this to actually feel like a documentary as well. Therefore the framing/composition of each shot is always similar in the sense that it's constantly on the move. The only time it's still is when we're seeing a piece to camera.  That again adds to the authenticity of the narrative, trying to really make it feel like a Doc, by using one or two angles to really allow the audience to submerse themselves. It adds to the grungy feel you get from the handheld aesthetic which again plays into this doc, fly on the wall feel where you feel for these characters hardships, which again is all ironic as it's playing on that stereotype to add to it's comedic value. This therefore strengthens the narratives foundations of it being a documentary, and this is just through the way it is shot and it's use of camera movement. 

The way that the lighting is set up is obviously to support the themes of this narrative, so that's why it's always so dim, especially when you enter a location. It adds to the urban element of this story, the cool edgy vibes that you feel when you watch the programme, obviously it's poking fun at this particular scene but at the same time it feels authentic and real because they've created this certain aesthetic that you'd normally associate with a pirate radio station, and people that like DnB and garage. Clearly the mis en scene plays a huge part in portraying this type of narrative for what it is,  but also the camera angles too help a lot to convey the message it's trying to put across. It's shot typically like a doc, and the lighting is also like a doc, from Matt Wicks himself, 'Lighting wise, it has to look completely natural but at the same time have shape and contrast whilst seeing 360 of the location. We therefore light as much as possible through windows, use a lot of practicles and some creative rigging at locations.' This is because they're trying to emulate what a doc looks like so that when the audience watches it, it feels like a doc as well as looking like one. They follow these specific conventions to heighten the comedies humour, going against the stereotypes and confirming to them creates more of a laugh out loud reaction as a viewer. 

I wanted to highlight certain colours of these particular shots just to emphasise the consistency in their lighting and colour grade. This solidifies their narrative as if they have a strong aesthetic to present to the audience, it makes it more believable, fitting and appropriate for dealing with some of the series' themes it tackles. You can see that a lot of the colours seem to be of the blue descent, now these colours will be purposefully chosen and the colour in my opinion is to convey the harsh realities that some of these men have to deal with, but then flip it because it's a comedy, so the colourist & DOP are being clever, conveying one particular message, but juxtaposing it to what their real struggles are. The moods and topics you'd normally associate with different shades of blue would be coldness, harshness of things, urban, but also emotional depth and honesty. All of these things in some way or form are brought to the surface within this piece so the colour grade & lighting offers more support to reinforce that point it's trying to make. 

QUESTIONS AND REPLIES - 

What cameras were used for the filming of People Just Do Nothing, and what format was it recorded on? 

In terms of technical information we shoot on two Arri Amiras, standard HD, pro res 4444 log c. We have three Angeniux zoom lenses, 15-40mm/30-80mm/45-120mm. We put some diffusion filters on the front either black satin or Black Pro mist. A cam (which I operate) tends to have the 15-40mm and B cam swaps between the other two. 

How closely did you work with the director to capture the right aesthetic & tone for the piece?

'Then in terms of the aesthetic of the show and the collaboration with jack the director, I think it’s important to start by saying that our two objectives are to make it as documentary real as possible and give the performers the most freedom to improvise and move wherever they choose. Which from a lighting and camera point of view are quite tricky to say the least. Lighting wise, it has to look completely natural but at the same time have shape and contrast whilst seeing 360 of the location. We therefore light as much as possible through windows, use a lot of practicles and some creative rigging at locations. 

             Once the lighting is sorted, we move onto the camera and it’s movement. We decide on a camera position, usually we’ll settle there after following the actors into the scene. We’ll then find a position for B cam where they can achieve a tighter shot, usually through foreground. The show tends to be 90% A cam so I’ll follow the action, reframing a panning to performers. The important thing is to know when someone has a line but not to pre-empt the camera move but also not arrive too late so you don’t catch the line. The timing and speed of the reframe can also add to the comedy as well as panning to a reaction, Steves character is a favourite to pan to in order punctuate a joke. 

          One of the main ways in which we’re able to make it feel as documentary as possible is that we never (or rarely) come around and film from the other angle in the set. The thought being that the audience would expect to see the other camera. As we don’t “do coverage” as it were, wide shot, mid shot, singles etc. We’ll do 15 or so takes, this can feel quite repetitive after take 10 but because the cast improvise so much it works. Usually something great happens around take 12. It kills my back.'

Finally, any advice and insight into being a cinematographer & your preparations for shooting? 

'In terms of being a cinematographer in general. I always go back to what Jack Cardiff said that the job of the cinematographer is to serve the director. This can be interpreted in many ways though. On the one hand you can do whatever they ask regardless of whether you know it’s the wrong thing to do. You can also serve them by guiding them down the right path. I feel you get an idea of how to approach working with the director as you work with them. On PJDN, it’s completely jacks vision. He lives and breathes it. I have suggestions about lighting and angles and I’ll point out technical things but Jack has a very specific vision that I have to achieve for him. 

           Other more general advice is to always try and learn, it’s a job that is changing constantly. Go to the BSC shows to keep up with technology, especially in lighting. Study the great painters, you can learn so much about colour and light from a painting from Vermeer for example. A subscription to the ASC magazine is a great help and inspiration. You probably know a lot of this anyway. Overall though, try and film and photograph as much as possible. Learning on set is the best way.' 

What i've learnt from this dialogue - 

Overall I can honestly say i've took a lot of board from this conversation with Matt, he's been really great in taking the time of day to respond so i'm appreciative of that fact. A few things that i'm going to take away from this is that I should really know the script in and out, he makes a point about following the characters and how 'The timing and speed of the reframe can also add to the comedy as well as panning to a reaction, Steves character is a favourite to pan to in order punctuate a joke.' Which I think is brilliant to know for my piece, I know ours isn't a documentary but it's great advice, to not also stay loyal to the shotlist and just use it as a safety net. I need to follow where the action is going and present it in a comedic way by capturing reaction shots. Additionally I really took on board his answer regarding the director/DOP relationship and how I should approach that, because this has been a concern for me as I don't want to feel like i'm stepping on Will's toes. 'the job of the cinematographer is to serve the director.' - I think that's the best approach, I'll try and guide Will if he wants to be guided but at the same time I will serve him to the best of my ability. I need to take on board this advice and act on it, I want to have a consistent aesthetic throughout this project so to do that i'll need to listen to this.