Behind the Lens: The Role of a Director of Photography on a True Crime TV Show
Being a Director of Photography (DP) on any project is a thrilling challenge, but when the setting involves water, the stakes—and the rewards—rise significantly. For Deadly Waters with Capt. Lee, a true crime Oxygen TV show, where every detail matters, capturing the right shots around water adds an extra layer of complexity and intrigue. This blog post delves into the unique aspects of being a DP for such a show, from managing B-roll to conducting two-camera interviews.
The Allure and Challenges of Water
Water bodies—whether lakes, rivers, or oceans—bring a cinematic beauty that's hard to match. They can also introduce a host of challenges:
1. **Unpredictable Reflections**: Water surfaces constantly change, reflecting light in unpredictable ways. This requires constant adjustments in camera settings and positioning to avoid unwanted glares or shadows.
2. **Weather Dependencies**: Shooting near water often means contending with weather conditions. Overcast skies, sudden rain showers, or harsh sunlight can significantly impact the shoot, necessitating quick adaptation and contingency planning.
3. **Safety Concerns**: Safety is paramount. Ensuring that both the crew and equipment are safe around water demands meticulous planning and risk management. This includes having safety gear, trained personnel, and waterproof equipment.
Crafting the Perfect B-Roll
B-roll footage is essential in true crime shows, providing the necessary context and atmosphere. When it comes to water settings, B-roll can be incredibly evocative:
1. **Establishing Shots**: Wide shots of the water body can set the scene, giving viewers a sense of place. Using drones for aerial shots can provide stunning perspectives and highlight the expanse or isolation of the location.
2. **Detail Shots**: Close-ups of rippling water, objects floating, or the interplay of light on the surface can add a layer of intrigue and beauty. These shots can be used to create mood and tension.
3. **Dynamic Shots**: Panning across the water, following the flow of a river, or capturing waves crashing can introduce movement and energy. These shots are great for transitions or to build suspense.
Conducting Two-Camera Interviews
Interviews are a cornerstone of true crime storytelling, and using a two-camera setup can add depth and professionalism to these segments:
1. A Camera: We used a Sony Fx9, with a Canon FD 50mm prime as an A cam.This camera focuses on the interviewee, capturing their expressions and emotions. It’s usually a medium close-up to allow viewers to connect with the person speaking.
2. B Camera: The second camera was also an Fx9 but with a Canon FD 85mm prime. The B cam provides a different angle, such as a side profile or a wider shot that includes the interviewer. This adds variety and visual interest to the interview footage.
#### Setting Up by the Water
1. **Stabilization**: Ensuring stable shots is crucial, especially near water where surfaces can be uneven. Tripods with adjustable legs or even handheld gimbals can be lifesavers.
2. **Sound Considerations**: Water can be noisy, with waves, splashes, and ambient sounds. Using high-quality directional microphones and windshields can help capture clear audio.
3. **Lighting Challenges**: Natural light can be both a blessing and a curse. Reflectors and diffusers can help control the light, avoiding harsh shadows or overexposed areas.
Working as a DP on a true crime TV show set around water is a unique and rewarding experience. It requires a blend of technical skill, creativity, and adaptability. From capturing mesmerizing B-roll to conducting dynamic interviews, the water setting provides a rich canvas to tell compelling stories. Despite the challenges, the results can be incredibly rewarding, offering viewers a visually stunning and emotionally engaging experience.