Page 7 - Fujifilm Exposure_46 Glorious 39_ok

DIRECTOR:
NEILGORRINGE “
and a 60 second, which
restaurants without completely relighting them, and a lot of it was going to be at 48FPS. The original brief was 50fps, but knowing that we would be going mainly handheld, I agreed with Neil that it’d be better to shoot on Arri LT’s for the weight, which go to 48fps. So I knew I would need the 500T rating of the new Vivid stock.
We shot with two 35mm cameras. I chose to shoot with mainly 1000 foot magazines, as this would help us capture some more naturalistic performances, without so many interruptions for re-loading. Combined with the 3-perf cameras that we used, a 1000foot mag allowed us to shoot for over 13mins at a time. This also saved the production a fair bit of money as this system means much less short-ending and thus wastage is kept to a minimum.
I used UltraPrime lenses. They look great wide open, and I wanted to get a shallow depth of field when- ever possible. The use of Primes also gave us more mobility with the two cameras, and allowed us to shoot side by side without creeping into each other’s shot. Zooms would
have been unwieldy to say the least. The results from the new Vivid 500T were great. The images had realism, but combined with a strong look: very rich blacks, great contrast and strong colour. The stock gave us a great feel whilst allowing us to work with what was there in the first place, occasionally just lighting the foreground action.
Having said that, my gaffer
Shawn White did go into the 2nd
location and replace every single fluorescent light with a stronger, daylight-balanced tube. So what we
have is a documentary feel, but with heightened visuals. I have since used
the stock on another Ad, and am
about to use it again on a further
one. It was great working with Neil.
He’s very keen on collaborating. I
also had a really fantastic
crew. Both the McDonald’s
spots have done very well so
far: They were Pick of the
Week in Campaign amongst
other major highlights. ”
The McDonald’s commercials were originated on 35mm Fujicolor ETERNA Vivid 500T 8547
Photo top left: DP Richard Mott;
above: scenes from the McDonald’s commercials
PRODUCER:
JESS ENSOR
PRODUCTION COMPANY: MOXIE PICTURES
AGENCY:
LEO BURNETT
I was approached by Moxie Pictures to shoot two McDonald’s spots for
would be separate ads. The brief was to portray the British relationship with the restaurant, but with visuals that enhanced the everyday nature of the subject matter.
Neil and I met and looked at some references, and one photographer we both really liked was Saul Leiter, whose photographs from the mid 20th century are extremely rich in their use of colour and composition. So although I decided to use a fast stock, I needed one that yielded great colour.
I knew that Fujifilm were about to launch the new ETERNA Vivid 500T, but not for some weeks, so I called Rachel Baker to see if it was available and she arranged with Jerry Deeney to give me and fellow DP, David Katznelson, an impromptu screening of the stock at MPC. After seeing the demo film I had no doubts that this was the stock for the job.
I needed to be able to shoot inside the two McDonald’s
director Neil Gorringe: a 40
COMMERCIAL BREAK
‘I’MLOVIN’ IT’
CINEMATOGRAPHER RICHARD MOTT ON WHY HE CHOSE TO USE THE NEW ETERNA VIVID 500T FOR A PAIR OF COMMERCIALS TO PROMOTE ‘THE PEOPLE’S RESTAURANT’
FUJIFILM MOTION PICTURE • THE MAGAZINE • EXPOSURE • 5