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“I pushed the ETERNA 500T on the night exteriors quite a lot. There was a big fear of things being too dark but the stock handled it very well.”
THE DP VIEW
JAMES ASPINALL
Ireally did this very straight, using the Super F-64D and the 250D for day exteriors and day interiors, shooting all the police station stuff on the 500T, which
was a bit of a gamble for me. Obviously you’re going to have a
direct connection between police sta- tion interiors and the day exterior. They’ll be walking down the street and walk into the police station, which is a direct cut from 64D to 500T.
But I think it’s seamless, the 64D has an extremely fine grain, so I don’t think you notice a difference at all.
As for the practical considerations of shooting night exteriors in a wartime
TO PEACETIME
Fujifilm Motion Picture • The Magazine • Exposure • 27
setting, that was quite tricky actually. Because of the blackout you couldn’t justify any sort of orange streetlight or lights coming out of buildings or any- thing like that. You did have a certain amount of licence, because towards the end of the war they lifted the black- out to a large extent.
Otherwise it was just moonlight.
I pushed the 500T on the night exteri- ors quite a lot. There was a big fear of things being too dark but the stock handled it very well. ■
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