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By Ball E. G.

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It is unlikely that a feature cameraman would hire me as a focus puller or operator before I had established myself and proven my ability in the business. In retrospect I would like to have had the chance of operating for an established feature film DP but if you think about it, it was unlikely to happen. After Black Joy, I was offered other low budget films as a DP, usually by directors I had met at the BBC, and my breakthrough film was The Long Good Friday with my old BBC friend John Mackenzie.

At rushes the next day it looked far more spectacular than I had imagined. ” On Beyond Borders I decided to use a bleach by-pass on the footage meant to be in Chechnya, Russia. We shot in Quebec where it was minus twenty and snowing. When you skip the bleach, it leaves the undeveloped emulsion behind increasing the contrast and de-saturating the colour but also increasing the exposure index—incidentally, this process is now outlawed by the insurance companies. The dailies were being sent to Hollywood for processing and then sent back which took three days minimum, so the initial shots were all guesswork.

However, you have to be cognisant of the actors and how they like to work their characters because they can be prickly when it comes to telling them what to do and how to move. There are some actors who you know will not listen to you but that’s the luck of the draw. What are the main challenges facing cinematographers today? The biggest problem facing cinematographers today is the exponential development of digital capture. No longer is the cameraman vital to the final image. Almost anyone can shoot a movie with the plethora of small devices out there.

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