BANCROFT | SHOOT STORY
LEFT Sarah Parish stars as Dectective Superintendent Elizabeth Bancroft in series two of ITV’s “very night-based” Bancroft.
VENICE “I then started looking into new cameras,” Nyberg continues. “I’d been filming the last few dramas in a row on an Alexa Mini – a camera I know and like – but I wanted to see if there was something else I could use. I’d heard of the Sony Venice but never put my hands on it. There’s the Panavision DXL2, which is also nice. I then spoke to Graham Hawkins at 24-7 Drama, who bought their camera from Visual Impact, and he said ‘come in and have a test’. I put on Cooke S4 lenses, which I’ve shot with a lot.” The S4’s 30mm coverage required roughly a Super 35mm sized sensor – possibly to the relief of focus puller, Kerry Arthur. This yields a 3.8K image, which Nyberg recorded in Sony’s X-OCN format. “Even using the standard Rec. 709 LUTs I thought ‘this looks really rich’. I put it through its paces in terms of underexposure and overexposure – quite extreme latitude tests. I looked at those results with my DIT, Simon Dinnigan, and we both thought ‘wow, this is quite different’.” LIGHT HOUSE “How I got started as a cinematographer was my connection to the art installation scene,” Nyberg recalls. “I shot with two Turner Prize nominees – Catherine Yass in 2001 and Runa Islam in 2008. We always shot on film, hundreds of thousands of
Bancroft scripts are very night-based. That really kept me up, because I was wondering howwe could do all this night work
FEBRUARY 20 1 9 | DEF I N I T ION 35
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