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“In technical terms our first rule was not to give any sign that it had been lit-toletthe existing lights at the location do their bit.”
tions with both jobs of course, and a degree of job satisfaction can be gained by moving between the two.
But Radcliffe clearly feels that the unvarnished reality offered by life with The Streets is an invigorating chal- lenge for his own lighting skills.
“That’s the fantastic thing about working on promos,” nods Radcliffe, “and especially working with someone like him. He’s concerned with that ele- ment of reality and honesty, which isn’t always the case with commercials.
“The colour of the street lights, or the skewed neon in the snooker halls, may not reflect a classical beauty but it works.” ■ ANWAR BRETT
Dry Your Eyes was originated on 35mm Fujicolor F-5008572 MotionPictureNegative
Fuji Motion Picture And Professional Video • Exposure • 33
