As I have previously mentioned, Anthony Dod Mantle plays a big part in learning about cinematography. Some of his work uses a lot of or all natural light or light sources found on the scene during filming.
A great example of this is the widely acclaimed …28 Days Later. When a scene is filmed in the dark, it only uses the light found on location, like lamps, ceilings lights or big flood lights during the scene. This, coupled with filming with DV & D1 source format gives a great modern homemade digital look.
Apart from the final scene, it was shot on a Canon XL-1S, the same camera that is available form the earliest stages of a current film technology degree course at Staffordshire University.
The lenses used during filming in 2001, give the best possible output to compliment the overall look of the production. Canon EC and EJ Prime Lenses (with Optex adapter) This information was found from a very reliable film source on IMdB
The film that really put Lars Von Trier & dogme avant-garde film making to the forefront of cinema was the Von Trier film ‘Dancer In The Dark’ starring Björk.
Although the film isn’t considered Dogme in it’s final production, most of the film producction techniques and technologies are shared with Von Trier’s trademark Dogme95 stamp. The cinematography from this film is like no other major film that was mae at the time. Winning the top Cannes Film Festival prize, the Palme d’Or in 2000.
Going back to another Von Trier film, Dogville brought together both the creator of Dogme and a very well respected cinematography at the time, Anthony Dod Mantle (28 Days Later… , Slumdog Millionaire)
Von Trier being his own camera operator whenever he shoots a film, Dod Mantle provided a good direction as to how to film such a clean film like Dogville, which was effectively shot on a sound stage.
That will be very hard to do as the lighting is great and hard to capture naturally flowing character within the composition.
A large part of Dogme, is capturing everything on camera in it’s maximum lighting conditions as close to the human eye as possible.
After looking through a few Dogme films, a hidden theme or style was noticable. The way they are shot and put together make’s it feeel the camera is following the characters and trying to keep up, rather than the camera being set-up around the characters.
That could be the way the story is told or written, but the camera reacts to actions & characters on camera that don’t look staged.
This revolutionary style of film-making is seeping ever more into mainstream film & TV.
You could argue that recent TV hits such as “The Only Way Is Essex”, “The Hills” & Made In Chelsea” have adopted a dramatic realism tone to how they are conveyed on screened.
Southland, a hit US TV cop/gang drama has also found a niche in the way it directs it’s actors on screen.
Much of it can be only visible when producing a really tight edit that flows in the dogme style.
Although, most of Dogme95 film making is ignored in big budget films & TV to make way for non-dogetic music, foley, impossible shots that require a lot more than just capturing the image & sound.
Melancholia, the most recent Lars Von Trier film has a lot of dogme elements in, but contains a great amount of foley, non-digetic material, visual fx and cinematography that break Dogme95.