BBC drama records on HDW-F900R

Traditionally, producers of costume dramas have gone for film as a production format. But a combination of pressure from broadcasters to make more programmes in high definition formats and a growing confidence amongst programme-makers about the medium’s dramatic potential has given rise to a recent spate of period pieces shot in HD.

The latest is BBC1’s Lark Rise to Candleford, a ten-part adaptation of Flora Thompson's memoir of her 19th century Oxfordshire childhood, which airs in January.

The heart-warming series, adapted for the BBC by Bill Gallagher, follows the story of teenager Laura Timmins (played by Olivia Hallinan) who leaves the hamlet of Lark Rise to start a new life in the wealthier market town of Candleford under the wing of postmistress Dorcas Lane (Julia Sawalha). It chronicles the daily lives of farm-workers, craftsmen and gentry and stars an ensemble cast including Brendan Coyle, Dawn French, Olivia Grant and Mark Heap.

Director of photography Balazs Bolygo originally became involved when he was asked to reccee Neston and Box – two villages near Bath which would be used as exterior locations. Interiors, running to a total of 16 sets in an industrial warehouse near Yate, underlined the scale of the project. “It’s probably the biggest set build that the BBC’s done for 20-30 years,” says the 32-year-old Hungarian-born cinematographer.

Creating a softer look

The series makes a strong contrast with Bolygo’s other recent contemporary TV series, BBC1’s Life on Mars and Mistresses, which aired in January. He declares he was attracted to the project because of its scale (the BBC hopes the show will return for several series) and the chance it offered to shape the look of the series in a TV genre better known for 16mm shooting.

“The major concern with HD is that it is known for a slightly coarser, harder texture compared to the more romantic, softer look which most DoP are trying to achieve with period pieces,” he says of the challenge.

In the end, the choice boiled down to a contest between two high end HD cameras, including the Sony HDW-F900R high definition camcorder, both of which were capable of achieving the required softer look. According to Bolygo, the BBC went with two Sony HDW-F900R’s kitted out with DigiPrime lenses.

Low lighting

Bolygo hired his entire camera package including grip gear from Take Two, a rental company he has developed a close relationship with over the years. The film-maker always tries to assemble a team of people around him he knows well and that includes his choice of specialist kit hire. “Because you spend so much time working with these people, it’s important to me that it’s a tight family. They have to know how I work, what I expect and how to give me the support that I need,” he says.

The show’s shooting style was to record as much detail in camera with a very generic flat set-up and to put the contrast back in post. One of the strengths of the Sony HDW-F900R and the HDCAM format was its performance in low light, which fitted well with Lark Rise’s low intensity lighting scheme.

Bolygo wanted the look of the series to be based on the reality of life in rural England in the late 19th century. “Paintings from the period show that rural cottages in England in that period were very dark and people worked where the light was available – in windows and doorways. I wanted to give the series a real flavour and texture of 1890s rural England so I lit the sets mainly through the windows with only one to two lamps on set.”

The hamlet of Lark Rise was characterised by a soft lighting scheme with reflected light bounced from big sources, contrasting with the richer Candleford which was lit brighter and harder. “I wanted there to be a big visual difference between the two,” says Bolygo.

New focus on make-up

Shooting drama on HD requires extra care in the make-up and production design departments because the clarity of the format means that too much make-up and low quality set design and costumes can easily be picked up. One reason for avoiding the format in period drama is its reputation for creating extra work and extra cost in post production. But Bolygo says that his experience with HD formats has taught him that many issues can be solved by careful lighting. “There were issues,” he admits, “But if you know where the dangers are you can counter them. You can get to know actors faces and light them accordingly.”

31 January 2008