Page 27 - Fujifilm Exposure_43 Slumdog Millionnaire_ok

“THE TUNGSTEN’S JUST GREAT. WHAT I SEE THROUGH THE VIEWFINDER IS WHAT I GET ON FILM.”
THE DP VIEW
PETER WIGNALL
his was a fantastic job for a DP Tbecause we go through differ- ent ages and looks. At the be-
ginning, it’s basically
three-strip film like, say, The Sound Of Music - really rich, heavily backlit, the classic sort of 50s/60s Hollywood look.
We then progress through a more contemporary sort of lighting to the very end when it’s extremely contemporary – in a 1967 kitchen- sink kind of way – with hard, realis- tic lighting, virtually no fill, no backlight, hard contrasty with just a bit of twinkle in the eyes.
This meant that we went from having a proper grid above the set, space light, half blondes and kinos to, basically, just two 10ks and a lit- tle bit of two foot kino tube fill.
I used pretty much the ETERNA 500T for everything apart from a bit of the 250D when we were exterior. The tungsten’s just great. What I see through the viewfinder is what you get on film. Our fantastic grader, Bob, at Soho Images, said he couldn’t believe it was all on the 500T because there was virtually no grain. Amazing.
Photo main: Gene Vincent and the band in Telstar; above l-r; Director Nick Moran with DP Peter Wignall and crew members on set; scenes from the movie Telstar including Con O’Neill (second right) as Joe Meek
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