Page 36 - Fujifilm Exposure_34 Curse Of The Were-Rabbit_ok

Pop Promo Tech Report
LAURA REIGNS IN SPAIN
D irector Sven Harding’s treat- ment was straightforward
enough: the loneliness and abstraction of a foreign hotel room, set against the vibrant
colours of the city nightscape outside. As is often the case with promos, budg- et and time kept us close to home, so we had to recreate the energy of New York, or Hong Kong or Tokyo at night - through a window in Barcelona!
“Barcelona is, in fact, not all that brightly lit at night, so I knew we would really have to work at the very edge of the negative’s capabili- ties. Although I had wanted to use the Eterna 400T low con stock, in the end I chose the Eterna 500T, knowing we’d need all the stops we could get. I ended up pushing it one stop to 1000ASA for the night scenes looking out through the hotel win- dow, which, combined with Zeiss fastest T1.3 lenses, gave me as much light as possible from the city below. The results turned out better than anticipated with a very natural, organic feel to them.
“Shooting ambient nights, I feel like it’s best to overexpose it as much as one can to make them look good. Matching the interior levels to the out- side had the gaffer and I checking our light meters constantly, though. The levels were so low you could barely register the key light with your eye! Quite nerve racking, but as it hap- pened, those images turned out great. It did mean the artist had to look more into the key light so we didn’t lose her eyes, but that’s quite often the case in low light, single source situations.
“I was amazed how well the Eterna 500T dug into all that blackness with- out ever going grainy, despite being pushed and generally mistreated. For instance, on the last day of shooting we were set up on a bus, which had to go through a tunnel and then emerge into bright sunlight.
DP Adam Frisch
At just 24, Isle of Wight-born Laura Michelle Kelly is already a ‘veteran’ of award- winning roles in the West End and now Broadway in musicals like Mary Poppins, Whistle Down The Wind and Fiddler On The Roof. DP Adam Frisch reports on the technical challenge of creating Laura’s debut video, There Was A Time.
34 • Exposure • The Magazine • Fujifilm Motion Picture
“Despite the 4-stop difference, I did- n’t want to do an iris pull and change the depth of field, so I just let it go, half knowing, half hoping we could ride the exposure in telecine. It worked perfectly much thanks to colourist Mark Horrobin at MPC. In fact, those shots are proba- bly my favourite ones in the video.” ■
There Was A Time was originated on 35mm Fujicolor Eterna 500T 8573 Motion Picture Negative