Page 12 - Fujifilm Exposure_46 Glorious 39_ok

➤ a five foot deep pool mistakenly named a ‘hot spring’. The largely improvised performances combined with the ability to shoot continually for up to fifteen minutes on a 1000ft magazine meant that both my focus puller Derrick Peters and
myself were immersed in the cool water for long periods. We shot with the LT
hand held and housed in a splash bag which was engi- neered by the ever resource- ful 2nd AC Scott Rodgers and Derrick did a great job in keeping it pin sharp without rehearsals.
Overall though, we de- cided to shoot this film with less hand-held camera work than I had on previous films and with more classical camera movements using a lightweight dolly and track.
My approach to lighting
was to embrace available
light where possible for a
high degree of naturalism and this was either supplemented with soft fixtures balanced to match the domi- nant source in day interiors or to emulate closely the look of realistic lights sources for night scenes.
I felt that a correct motivation for the light source was very important as I did not want to create
an image that was too stylised but instead wanted to highlight a certain beauty in the ordinary. I think that a cinematographer should not always feel the need to do something, to impose, but that our role is also to
We shipped a lighting package over from Take 2 although we did not have the standard generator/lighting options normally available to us and our biggest light was a 2k/4k switchable HMI.
shipping of our rushes took some time to negotiate. However, once our first shipment of rushes finally made it out of the country they were carefully looked after by Nigel Horn and Martin McGlone at iLab in Soho.
It was a real boost to the crew’s morale to finally receive such enthusiastic and complimentary neg
reports which I’m
pleased and relieved
to say continued
throughout the shoot. ”
Here was originated on 35mm Fujicolor Super 64-D 8522, Reala 500D 8592, ETERNA 500T 8573 and ETERNA 250D 8563
LOL CRAWLEY ON HERE
“I WAS VERY PLEASED WITH THE WAY THAT THE FUJIFILM STOCKS PRODUCED GREAT DEFINITION BUT WITH A VERY NATURAL SOFTNESS.”
recognise when to do nothing. Although there were many days where we lit with nothing more than the available summer light, my gaffer Andy Lowe and local best boy Jim Nalbandian had their work really cut out on so many of the interior locations and night shoots very early on in the schedule.
This meant that we were often working on the edge in terms of exposure but again the Fujifilm stock delivered, capturing great detail in areas three stops under exposed and creating very realistic and atmospheric night and pre-dawn scenes. Due in part to a lack of international filming in Armenia the
Photos: Shots from back and front of camera on location in Armenia on Here
10 • EXPOSURE • THE MAGAZINE • FUJIFILM MOTION PICTURE