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DANIELTRAPP
BORN: 19 AUGUST 1974, LOWER HUTT, NEW ZEALAND
How did you get into
this industry, any family “connections?
Sheer determination. Absolutely
no family connections. I can proudly say that I have worked my way through the ranks.
I have a degree in Interior Architecture from Wellington, which had absolutely noth- ing to do with camera but everything to do with spatial narrative and concept. I feel it’s a fine arts emphasis that’s helped me com- municate visually with directors getting to the essence of any story.
What was your favourite job
to date and any unusual anecdotes
whilst working?
My favourite job to date would have to be Wave Riders. It’s a surf film that traces the roots of Irish surf and culminates in a huge final surf sequence. It was very challenging and I would have to thank my outdoors’ background and my camera assisting experi- ence as we were in many tough and chal- lenging situations.
For me though, Hawaii was a real blast. To go from puffer jackets and head to Gor- tex to a pair of Hibiscus Board shorts and a sunhat. Now that is a way to work!
Who were the most influential
people in your career to date,
i.e. cinematographer, director, etc.?
I have been lucky to operate and do bits of second unit for Marcel Zyskind on a few of his projects with various talented directors (Martin de Thurgh, Jonathan Glazer and Michael Winterbottom). He is a real inspira- tion as he is only thirty (I think) with so many accomplished features already under his belt.
I have also been fortunate to work with Shane Meadows at Tomboy films recently on Somerstown for some second unit and sec- ond camera operating. It was only for a few days due to other work commitments but an absolute pleasure. I really enjoy the sponta- neous improvised way he enjoys working - and collaborating.
The people I have been influenced by most in my career would have to be all the ones who have found the space and recogni- tion within the industry to be ‘themselves’. If they are a DP they are one of the ones who have found their directors - with which they collaborate well. The more they do it the
shorter their ‘shorthand’ becomes and hopefully the more you work.
Saam at Partizan is a director I really en- joyed working with recently. He’s got a real eye for the dark side... more please... Matt at Pretzel. He always brings loads of reference photos and movies, he pushes me all the time.
What are your current/future projects?
• A Day After Peace, Theatrical Release. Dir Jeremy Gilley @ Peace One Day. DP. Premier- ing at Cannes 08.
• AIB - Surfer, 35mm Commercial,
Dir Ritchie Smyth @ Blinder Dublin. Shoot Commences April 08.
I also get a lot from working with people on the fringe of the industry as they have a very different way of seeing through a cam- era. A film installation for an exhibition with Runa Islam and two quite unique Promos for Fritz Stolberg.
What were your most recent projects and what was your job on each?
• Wave Riders, Theatrical Release.
Dir Joel Conroy @ Inis Films - Winner Dublin International Film Festival. DP
• These New Puritans - Elvis, Music Video. Dir Saam @ Partizan. DP
• Steers - Julia, Music Video. Dir Steve Jami- son @ Archers Mark. DP
• The Sweethearts, Short. Dir Steve Jamison @ Archers Mark. DP
• Kooks, CD Commercial. Dir Alan Finn @ JJ Stereo. DP
What is your experience of working with Fujifilm stock?
Wave Riders: We used Photosonics IVN cameras for our in water camera shots.
As we shot up to 100FPS we used Fujicolor ETERNA 250D and sometimes Fujicolor Reala 500D. I love the greens and blues, especially on a murky day on the west coast of Ireland.
The Sweethearts: 8592 for night
ext/int. Night interiors on the
8592... perfection. ”
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