We've got exclusive footage from their talk, in which they explain how flexible and cost effective shooting on DV can be.

1. On planning the shoot, types of DV cameras and effects that can be achieved in post-production
   
   
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2. On choosing the right crew to film on DV and on the flexibility of the medium
   
   
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3. How To Make The Most Of The Director/DOP Relationship
   
   
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Interview with Brett Turnbull, director of photography

Brett Turnbull is an experienced Director Of Photography and Cameraman who was brought in by the prize organisers to give a talk on shooting short films as part of the workshop weekend organised for the finalists. Here, he gives his advice to budding directors on maximising the effectiveness of the relationship between the director and his/her DOP.

The importance of communication

The moment when the film finally runs through the camera is when all that writing, fund-raising, rehearsing and set-building is recorded for all eternity, or simply wasted. So good communication between director and cinematographer is crucial. I think it helps to try and develop a common language, by having some shared reference points. For example, use scenes from other movies, stills from a magazine, paintings or even a piece of music.

Be specific in your requirements

The DOP needs something concrete so that that when the director says, "I want this to be more edgy, epic or moody", the cinematographer can translate this request into the right (lens, filter, dolly move etc) without getting it wrong five times in a row.

Develop a shorthand

I am not denying that it's hard to find words that encapsulate an atmosphere or an emotion, so developing a shorthand based on stuff you've looked at together saves valuable time on set. Remember there is a lot of technical and time pressure on a DOP, so it helps if instructions from a director are as simple and precise as possible.

Allow your DOP to have creative input

Don't be intimidated if a cinematographer offers up shots to look at instead of the storyboarded ones. They may think there's a more effective way of covering the action. Even the grip or the focus-puller have been known to come up with a much better shot than the director and the DOP put together. And why not? The way the industry works, directors naturally haven't spent nearly as much time on set shooting as their technicians have.

Work hard to motivate your crew

Remember any decent film crew wants to be challenged, but also wants to feel like part of a team. A good director is able to motivate a crew without bullying them, but by inspiring them to do their best work. Having said that, it's also important that as a director, you stick to your guns if you feel like you're being steered away from the film you've want to make, and towards someone else's private agenda. Ogborn and I worked together previously on This Is Not A Love Song and it seems I got away with it.

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