LEE THOMAS INTERVIEW (DOP RESEARCH)

Lee Thomas is a London based Cinematographer who specialises in TV commercials, narrative, music videos, promos and aerial cinematography. Although Lee hasn't shot documentaries, I found him to be an excellent help during me Transitions unit where I spoke to him about Lighting.

I contacted Lee and asked him about how he goes about choosing the kit for each project and also which he feels is better, Handheld/shoulder mount footage or stabilized.

Lee explained that he's used a range of different cameras but each DOP does have a favourite. "Choosing a camera is like choosing a tool, it's got to be right for the job" (Lee Thomas), he explained that an experienced DOP will have used a range of cameras and equipment and will know what works better for each project. Lee predominantly uses Arri Cameras but has used a range of different ones including 16mm film cameras. He continued to say that each offers a different a unique look which you need to consider but it's also what you're confident using, he advised me not to just jump in with a complex camera I've never used as this could lead to the footage being ruined due to lack of knowledge. Go with what you know and what gets the job done. "Your job is to tell the story visually" (Lee Thomas) explained, telling me that while it's the Directors job to tell the story and bring it together, the DOP needs to be the one to get the visuals across.
Lee also explained the importance of communication with Directors. "You're their right hand man. No communication means no film, or at least no good film" (Lee Thomas). Lee has done many projects with his brother, Chris Thomas, a Writer and Director. The two have often worked together on projects as DOP and Director and he explained that this helps a lot as it's not only given them a good relationship to work off, but they've already got a good level of communication. Lee explained that the DOP and Director will need to communicate throughout the project, any issues and they know and discuss. They work off each other.

In terms of handheld footage. Lee is a HUGE fan. Working with him on a number of different projects myself, I've only ever saw him bring in a steadicam/stabilizer once and that was down to the Director requesting a specific camera movement which couldn't be achieved handheld. Lee explained "If you can do it handheld, do it. The footage looks and feels more natural and it's less kit and less budget spent" (Lee Thomas) he explained that depending on the project is dependant on the rig, below is Lee's latest commercial for the RAF:

All footage through this commercial is with a shoulder rig. Lee explained that this worked better as it's all hands on the ground and fits better with the tone of the commercial as it's for the RAF. It works with the story to tell the audience about this job role and with the scenery and performance as well just bumps up the quality even more. 

When I asked Lee whether or not I should do shoulder rig for my documentary, he replied "Shouldn't docs have handheld footage anyway?" (Lee Thomas) Lee explained that although he hasn't filmed documentaries, he watches them and regularly sees handheld footage, it's a given for the genre. Like horror films have moonlit scenes, action films have car chases, documentaries have handheld footage. It's more natural and brings you closer for the audience.