The Producer Report: Drama
The drama of
high definition
Sony’s high definition formats, particularly HDCAM, are taking
the place of film cameras for high-end dramas. Drama producers
and DoPs tell Adrian Pennington why Sony HD cameras are
quickly becoming the models of choice for well-polished dramas
T
raditionally producers of prestige drama have “We shot Secret Diary on HD despite getting the
opted for 16mm film as a production format, initial commission in SD from ITV2,” says Tiplady.
but a combination of pressure from “We paid for the extra HD production costs
broadcasters to make more programmes in high ourselves.” The producer subsequently sold an HD
definition formats and a growing confidence amongst version and the second series to [US network]
programme-makers about the medium’s dramatic Showtime, justifying its gamble.”
potential has tipped the balance in HD’s favour. For Company Pictures’ head of production
A decision to shoot on HD begins with the Helen Flint, format selection depends on shooting
broadcaster’s demands, says Frith Tiplady, Tiger style as well as crew expertise, the geography of the
Aspect’s head of production: “That often comes location to the facility house plus weather and
down to budget. If you’ve a £1m an hour drama terrain conditions. “If we were shooting in a hot
the expectation will be film or top-end digital desert or freezing cold island, for example, we
cinematography, whereas if you’ve only £300k an would probably favour the film camera,” she says.
hour you have to cut your cloth accordingly. Jamie Hall, head of production for Lime Pictures
Secondly comes producer choice and the follows two main criteria when rationalising format:
recommendation of the director of photography.” “Editorially asking what the piece deserves and then
For a high speed action script (such as Kudos’ asking what the budget allows you to do. Ideally I
Spooks) a producer might not use HD formats at all, want to shoot on film but that’s becoming harder
preferring a lighter, conventional film camera and harder to justify not only in terms of cost but
instead. For other large-scale series, perhaps with also because HD can look fantastic.”
less demand for handheld work, and with “Fundamentally the decision to go with film or
international sales potential, HD is an obvious not should always be script driven not one based
choice. Tiger Aspect’s Robin Hood and The Secret on economics,” believes Nick Dance, who shot
Diary of a Call Girl are prime examples. Mansfield Park on 16mm and the most recent series
30 theproducer Spring 2009
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