Page 33 - Fujifilm Exposure_13 Shiner_ok

WHEEL OF FORTUNE
FIRST COMMUNION DAY
CALLING ALL WINNERS
SCHOLARSHIP AWARDS STEAM AHEAD
FUJI WEBSITE
www.fujifilm.co.uk
mustard gas scene. We were able to de-saturate the colour of the trench sequences so that the audience feels the explosion of colour when we cut to the animation and paintings. Creatively, being able to see what we’d get on the final print was wonderful.
“From the negative grading we went into the Inferno system, working with Kris Kolodziejski. Now in the Digital realm, we were able to add in the com- puter-generated drawn animation for grading such as adding smoke and soft- ening the grain. At the Inferno stage,
Fujifilm has been named the Official Imaging Partner to the British Airways London Eye, the world’s biggest observation
wheel. The five-year agree- ment offers the company the opportunity to reach the estimated two million
visitors expected each year. Its products are now avail- able on site with extensive branding at both the
queuing area and the boarding platform. ■
W inner of the 1999 Dennis
Potter Play of the Year Award, Lin
Coghlan’s First Communion Day has recently been filmed for transmission on BBC2 later this year.
Directed by John
Dower for Tigerlily Films,
and starring Moya Farrelly, Aiden Gillen, Peter Hanly and eight-year- old Ben Harding, the 30-minute drama was photographed on Fuji by DP Jake Polonsky.
C ongratulations to all the nomi- nees and the eventual winner, Conrad L. Hall for American Beauty, of this year’s Academy Award and Orange British
Academy Film Award for Best Cinematography.
Oscar runners-up were Roger Pratt (The End of The Affair), Dante Spinotti (The Insider), Emmanuel Lubezki (Sleepy Hollow) and Robert Richardson (Snow Falling On Cedars). The other BAFTA nominee, along with Pratt, were Michael Seresin (Angela’s Ashes), Bill Pope (The Matrix) and John Seale (The Talented Mr Ripley).
Mention too of Lynne Ramsay (pic- tured right) who was named the British Director of the Year by the London Film Critics as well as winner
T
tion process and are now getting into the serious business of film-making. We wish them luck with their produc-
Shot in Dublin, and produced by Natasha Dack, it’s the intimate portrait of a young boy’s relationship with his dying grandmother and feckless mother. ■
at the BAFTAs of the Carl Foreman Award (and a £10,000 cash prize) for Most Promising Newcomer in British Film – for her film Ratcatcher, shot on Fuji by Alwin Kuchler. ■
titles and effects were also added.
“The process allows for longer dis-
solves than can be achieved on the conventional film route, which we needed for the opening statue shots. In keeping with the film’s mix of live- action and animation, we were able to place a live-action shot superimposed over the animation within one of the animated sequences. The entire film, now in a single digital entity, was re- recorded via an Arri Laser on to a Fuji inter-negative for printing at Soho Images back in London.”
With Wilfred now under his arm at Cannes, you can understand why a clearly proud Kershaw – already planning his first full-length feature - says that it “remains a period film, albeit a complex mix of
he 20th Fujifilm Scholarship Awards are well underway. Some sixteen colleges and uni- versities around the UK made it through the initial script selec-
tions and thank all the sponsors involved who continue to support the scheme so generously. ■
FESTIVALS & EVENTS
FESTIVALS & EVENTS