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NFTSCINEMATOGRAPHYSTUDENTS EMMADALESMANANDSTILWILLIAMSREPORTON THEMAKINGOFTHEIRGRADUATIONFILMS, AUREVOIRMONKEYSANDTHEFIELDOFVISION
I was asked to create a
retro futuristic look for the 1970s-themed science fiction short The Field of Vision
“directed by Siri Rodnes for my graduation film.
Based on a short story by best-selling writer Ursula Le Guin, The Field Of Vision is one of the most ambitious films the NFTS has pro- duced in recent years - complete with a vast composite set, the surface of Mars and numerous model shots.
The film is about a group of astronauts returning from a mission to Mars with unexplainable ailments. A psychiatrist is brought in to
try to diagnose them, and what he discovers shakes his scientific beliefs to the core.
We decided immediately that digital wasn’t appropriate for the retro futuristic feel of the film, based
on our references too, among others Alien and 2001. Even when it was challenged, we stuck to our guns and stayed loyal to film.
The Field of Vision was filmed
on S16mm ETERNA Vivid 500T stock for a final aspect ratio of 2.40:1, on an SR3A with uncoated Cookes and Ultra primes kindly donated by Panavision UK.
We also shot on two other formats - standard VHS and Super8. Most techniques were very much done in camera including filming multiple television monitors with individual continuous playback whilst having two of the monitors fed with live CCTV cameras all within the same frame.
I used to be afraid of the dark, but not anymore. The ETERNA Vivid 500T maintains such detail in the blacks without going mushy or grainy; blacks are ink black - lovely.
I was also pleased with the stocks handling of highlights, saturation and contrast. It shows Fujifilm’s commitment to technical excellence to develop a stock that has so much character and punch straight from the negative - brilliant.
Making conscious and clear decisions about the look of the film from the start is, I believe, extremely beneficial when coming to the grade, as you only have to start building from an already decided look rather than starting from scratch; time can be spent creatively on other aspects of the film.
Lee Wooster (gaffer) and team did an amazing job of rigging the countless kinos on all eight of the sets. We used daylight, super blue and super red bulbs powered by mega ballasts kindly donated by Cirro-Lite Europe. The Field of Vision was a very exciting project which
“THE ETERNA VIVID
500T MAINTAINS SUCH
DETAIL IN THE BLACKS
WITHOUT GOING
MUSHY OR GRAINY;
BLACKS ARE INK
BLACK - LOVELY.”
STIL WILLIAMS
was both a challenge and a pleasure. Having worked on a Sci-Fi film,
I have discovered it’s both a disciplined and imaginative genre. Siri has such clear thoughts, amazing ideas and great talent that she has elevated my work and will continue do so.
The project was extremely ambitious for the budget and I couldn’t have done it without the amazing crew and facility houses. I want to thank
everyone - especially our
tutors Brian Tufano and
Stuart Harris. ”
Au Revoir Monkeys was originated on 16mm ETERNA 250T 8653 and ETERNA 500T 8673; The Field Of Vision was originated on 16mm ETERNA Vivid 500T 8647
FUJIFILM MOTION PICTURE • THE MAGAZINE • EXPOSURE • 33