Page 10 - Fujifilm Exposure_29 Trial & Retribution_ok

MOTION PICTURE & PRO-VIDEO commercial break
Production Company: Bermuda Shorts Director: Danny Capozzi Producers: Jason Underhill & Jade Caffoor
Rivals compete on a fairground ‘Test Your Strength’ stall in a new commercial for this popular bubble gum. DP Marcus Waterloo tells Anwar Brett about bringing it to life on the screen.
I was very happy with the results of Fuji stock on this commercial - very crisp and clean with lovely colour rendi- tions. As it’s turned out it
seems to have been perfect for the job. I shot it on the Fuji F-250 tungsten and lit it quite simply.
“I don’t like fussing over things if they work, over time I’ve found that the simplest approach to things can be the best and most elegant solution to a particular problem.
seconds can take eight very long days to shoot. It was really good working with Stefano Cassini, the lead anima- tor, because I could tell him where the light was going and he would take that into account in the ‘performance’, just as you would with an actor.
He was really accommodating, and very helpful. There had to be a special team on this, because you’re working closely together for an intense period of time. And basically you’re trying to solve problems on the go. You’ll shoot a few frames, and then something will need to be changed and you have to find a way of doing it.
We shot in a lovely little studio in Wardour Street, using a motion control camera and filming against a blue screen background. The biggest prob- lem came with the tongue that hits the bell and falls to the ground. That took a couple of days to get right.
The biggest kick for me comes from the fact that you’re shrinking everything down on something like this, including your lighting. I typically like to have as few main sources as possible, and just do the rest with reflectors and little mirrors.
When you’re shooting on a big set there has to be a lot of communication with people just to get a light
moved. But here, working on a
small table-top, you could just
reach across and tweak some-
thing in an instant. It’s great.
Amurol Bubble Tape
was originated on 35mm Fujicolor F-250 8552 Motion Picture Negative
With this job the characters and the colour were already there really, so it was really a question of not get- ting in the way of it. I trusted the stock, you knew that the technology was sound, so anything foolish that would happen would be down to me.
You can’t really go wrong with modern stocks, it’s all there on the negative and we knew we could push it around a bit in post production.
When you’re working in stop- motion animation you have to take account of how everyone is going to work together, the time it takes to do a shot and how people are going to be moving around the maze of lights on the set.
I love solving all those things, it’s like a Rubik’s Cube with so many dif- ferent parts to it. That said, it was very simple for me. I just had to antici- pate where the characters were going to be because you obviously can’t get them to act. It was a bit like playing with toys, really.
I enjoy working on this scale as well [on a two-foot-high set], where 15
8 • Exposure • Fuji Motion Picture And Professional Video
Amurol Bubble
Agency: BBDO Chicago
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