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“I WAS COMFORTABLE WITH THE ETERNA 500T STOCK
TO GO TO FOUR OR FIVE STOPS ABOVE KEY. WE GOT THESE
THE DP VIEW
JO WILLEMS SBC
At all times in the film we were trying to express imperfection, chaos and turmoil through the
lighting. There’s a scene where Eddie is lying on his couch and the sun is just boring into the space. Neil described it as ‘fractured lighting’, and our sets had remov- able ceilings so I could add some KinoFlo light from above, although I usually had the ceilings in the shot and let the light bounce around as it would in a real apartment.
I was comfortable with the ETERNA 500T stock to go to four or five stops above key. We got these beautifully strong overexposed areas on the negative, so that it made it feel as if we just turned up at
a location with a camera and
started rolling.”
BEAUTIFULLY STRONG OVEREXPOSED AREAS ON THE NEGATIVE, “
SOTHATITMADEITFEELASIFWEJUSTTURNEDUPATA LOCATION WITH A CAMERA AND STARTED ROLLING.”
FUJIFILM MOTION PICTURE • THE MAGAZINE • EXPOSURE • 37 ”