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Everything you wanted to know about Fuji’s new film stock
“Credit is due to Bob, and to Fuji for providing film stocks which delivered precisely ‘what it says on the can’! It had to be so because we started shooting as soon as the stock became available.”
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the DPs were well served with a diver- sity of lamps, including Lightning Strikes from Cirrolight.
The film was edited on Final Cut Pro, working when appropriate, on an Apple 17” laptop bringing additional flexibility to post-production.
Despite a proportion of digital work, the demo was printed from the camera negative, the conventional ‘benchmark’ for appraisal; Clive Noakes and the team at Deluxe adapt- ed readily to the new stock delivering excellent results.
Making a demo which reflects a stock’s end use, requires a compelling sound track; this was created by Dillistone’s Olympic colleague Paul Stefanidis, with LipSync completing the surround mix.
“Sound isn’t at the forefront of people’s minds in a stock demo, but it’s fundamental to dramatic story- telling, especially given our need to sustain shots for appraisal.”
Lights2: Return of The Shadow is now being presented around world in two versions: An uninterrupted ‘drama’ version allowing audiences to assess the stocks’ overall per- formance, and a director’s commen- tary version where Dillistone pro- vides specific insight.
For video versions, Red telecined an interpositive print, and a DVD fea- turing Eterna and Reala 500D demos was completed by Stream.
The UK’s first glimpse of the film was at The Soho Hotel, and Fuji plans further presentations soon. From Tokyo to Hollywood the film is widely credited as the best demo yet! ■
For further information contact Millie Morrow (mmorrow@fuji.co.uk), visit www.motion.fuji.co.uk and www.glory.uk. Marcus Dillistone can be contacted via info@glory.co.uk
Photo above: DP Ian Wilson BSC and Marcus Dillistone; main: on the set of Lights2: Return of The Shadow
16 • Exposure • The Magazine • Fujifilm Motion Picture