Page 9 - Fujifilm Exposure_33 Magnificent 7_ok

“The saturation of the colour and the density of the blacks swung it completely.”
or the wedding reception scenes we put a marquee up in the grounds of our country house location. So we actual- ly shot within that, with lights
outside. One of the things we were very keen to maintain throughout the shoot, because it was such a fantastic location, was to be able to see out and retain detail through the windows rather than have them blow out. That was one of our prime concerns.
And, of course, we couldn’t wait for the weather so we shot with what was going on at the time and the stock handled that contrast really well. If it was a bright sunny day. I’d be using a slow 64 daylight, with lights coming in up to balance it up.
And when the light dropped, and we were going with available light out- side, I switched to the 250 daylight so I didn’t have to lift it so much inside and maintained the balance that way.
My method of shooting for this one was to basically underexpose, to flatten the neg a bit, and the stock held up on that score really well. When the weather was grey outside, and we got lots of greens and were trying to keep an interior balance so it didn’t look overlit, then the stocks performed really well, and in the telecine, we were able to put back in a bit of contrast if we needed to. ■
THE DP VIEW
ANDREW SPELLER
F
Fujifilm Motion Picture • The Magazine • Exposure • 7