Page 35 - Fujifilm Exposure_48 Tamara Drewe_ok

THE DP VIEW
PETER WIGNALL
The biggest challenge on the
film was recreating life in the tin “house where Kevin had grown up and all the abuse had happened in his childhood. His own house in South London had been tarted up but luckily the one our production designer Russell de Rozario found in South Oxhey near Watford was being renovated so the owner didn’t mind if we ripped off the cladding.
The trouble was it was so small, quite literally two up, two down. There was no way you could have lights inside so it was all lit from the exterior with a few kinos dotted around to give it a bit of fill.
The Steadicam was flying all over the place.
Because we were shooting 16mm I had originally wanted to do the majority on Super F-64D but with six-seven pages a day and only six weeks to shoot, I had to strike a compromise and in the end used only ETERNA 500T both for daylight (with an 85 filter) and interiors.
I thought the results were great.
The mornings tended to be quite leisurely, but comes the afternoons, especially the last couple of hours, and it’d be pandemonium trying
to keep at least part way near the schedule.
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FUJIFILM MOTION PICTURE • THE MAGAZINE • EXPOSURE • 33