Page 25 - Fujifilm Exposure_34 Curse Of The Were-Rabbit_ok

commercial break
Sunday Lunch: Anti-Gun Crime
Conceived as a sharp, shocking antidote to the rising
incidence of gun crime in British cities, a new cinema advertisement, set over a Sunday lunch, is sure to provoke
a reaction and may even effect some change. Cinematographer Ray Coates shot the Anti-Gun Crime film, and explains to Anwar Brett how he set about creating the right atmosphere during a hectic one-day production.
We were working in a small location in South-West London, although it could have been anywhere. In such an enclosed space, rehearsing
was a problem, and when you’re deal- ing with actors you don’t really want to rehearse them too much because you
“find their performance can suffer. But Steve is an excellent director and I think he was phenomenal with the cast.
With this particular job I lit it from the outside in, so that we had as little film paraphernalia around as possible. We were also using two cameras with 35mm anamorphic prime lenses on them. It was lit in one direction, for day, and there was no relighting involved. That was the main aim, so that we didn’t slow the proceedings down once we’d got going.
That meant coming down and hav- ing 180s looking towards the windows; we wanted them to be burnt out, but we still wanted a degree of detail in the faces of the actors. I think we put the stock through quite a test. We just used the Eterna 500T and I was really pleased with the way it turned out.
I was looking for a lot of contrast; you’ve got various shades of black skin that are lit directly with hard HMI lighting streaming into the room. We didn’t want it to feel like urban London or a Ken Loach film observing what goes on in somebody’s house. This is for the cinema and I wanted it to have the presence of a piece of cin- ema. I think we got that, and I think it looks really beautiful.
Where does that beauty come from? It’s not a case of the aesthetic making the location beautiful. We were in a very confined space so you’re not
talking about elegance in terms of camera movement; you’re talking about the quality of the film stock even with all those restrictions we placed upon it. We wanted it to have the colour and richness that a cine- matographer like Andrzej Sekula has in his work. We wanted to make it look like a little piece of LA in London.
“AFM supplied us with our lighting for free, Arri Media were fantastic in lending us two anamorphic cameras, and of course we owe a massive ‘thank you’ to Fuji. My gaffer Dominic Seal also did me an incredible
favour by coming on board.
A huge amount of support
went into this job and that’s
because we all thought it was
so worthwhile. ■
Sunday Lunch: Anti-Gun Crime
was originated on 35mm Fujicolour Eterna 500T 8573
Client: Southwark Council
Agency: Lunar Communications
Production Company: Another Film Company Director: Steve Reeves
Producer: Tim Marshall
Fujifilm Motion Picture • The Magazine • Exposure • 23
”