Page 19 - Fujifilm Exposure_35 Miss Potter_ok

THE DP VIEW
CIRO CANDIA
W
short films
e knew we wanted to shoot The Carriageway in a stunning location and on steadicam and we wanted to keep it really
simple with a tracking shot of two people talking.
Steadicam was an inherent part of this whole film, not only because it would have been unfeasible to shoot on a dolly, but also because we want- ed that floating feeling that steadicam brings. Since the film is essentially about ghosts we also wanted that ethereal quality.
Once we knew we were shooting 35mm ,we knew we were going to go anamorphic. We shot on an Arricam LT and used Hawk APL C series lenses, which were heavy for the steadicam but gave us really sharp images.
The day of the shoot was in the middle of a heatwave and we were for- tunate to have consistent sunlight for the whole day. The sun would filter through the canopy and provide patches of light throughout the forest that just looked stunning.
This meant that there was a wide range of exposures for the film stock to deal with, but the Eterna 250 Daylight really impressed us with its ability to cope with both ends of the spectrum.
This was particularly noticeable on the closer shots on the actors, who at certain points in the film are walking in and out of patches of direct sunlight with at least six stops of difference between them. I just set the exposure somewhere in the mid- dle and knew that the Fuji stock would be able to ride through these extremes without blowing out or get- ting too dark. ■
Photo main: David Gant as the old man and Kate McGoldrick as the reporter in The Carriageway; above l-r: Ludwig Shammasian; Paul Shammasian (right); cast and crew on location; top right: Mike Scott and DP Ciro Candia
Fujifilm Motion Picture • The Magazine • Exposure • 17