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“ON A PERSONAL NOTE, I HOPE THAT FILM REMAINS AN INTEGRAL PART OF THE INDUSTRY,” SAYS KAEMPFER. “I LOVE THE ACTUAL PROCESS OF SHOOTING ON FILM, IT HAS A UNIQUE BEAUTY THAT WILL ALWAYS BE ASSOCIATED WITH CINEMA.”
or many young producer/ Fdirectors, finding yourself out
of film stock on your debut film shoot in the remotest part of the Swiss Alps might be cause
for an anxiety attack, not to mention sheer panic.
Not so for Olivier Kaempfer, who used his ingenuity and multi- lingual skills to drum up support when just such a thing happened to him on the set of A Road Apart last year.
“The Swiss Fujifilm office were extremely enthusiastic that we were a UK production that had come over to film,” recalls Kaempfer. “They had a lot of spare ETERNA Vivid 160T stock and were able to get it over to us first thing the next morning.”
A Dutch national educated in London, New York and Paris, Kaempfer’s first hands-on experience
of using Fujifilm was during his MA in Filmmaking at the London Film School, where he made A Road Apart.
“I had the opportunity to shoot on Fujifilm stocks during the various term exercises,” relates Kaempfer, “and judge its qualities first-hand
as a filmmaker. I’ve always found Fujifilm to be hugely helpful with film students; everyone at Fujifilm takes a keen interest in what you’re doing and the results of your work with their film stock.”
A contemporary of Kaempfer on the MA course he attened was cinematographer Ji Hwan Park, with whom Kaempfer collaborated on A Road Apart. The story follows hitchhiker Boris, a refugee of the Bosnian War, as he gets tangled up with Italian driver Filippo in a bid to return to his homeland.
“We didn’t want a picture post-card version of the Alps,” states Kaempfer. “We wanted to accentuate the more raw and rocky quality of the mountains, to bring out a slightly colder and greener tone. Ji Hwan strongly felt that the Fujifilm stock would be the most suitable for achieving this.
Says Park: “The ETERNA Vivid 160T 8643 had exactly the rich saturated colour I expected.
I wanted a cooler look so I only used the 85 filter for one scene to make a normal colour temperature in daylight situation.”
It was day five when the stock ran out. Another major headache was the issue of using camera and lighting rigs on the outside of a car when filming on a winding mountain road which is also a major trucking
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18 • EXPOSURE • THE MAGAZINE • FUJIFILM MOTION PICTURE
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