Page 59 - Fujifilm Exposure_51_Expo Intl_Spring 2011_ok

FIRST PE
go out in daylight you have the choice to correct them pretty much as you wish.
I would partially correct them
in many different occasions, in order to load up with a little bit more colour in them. And the way they react is just amazing. So the combination of those landscapes and those stocks was, for me, quite a happy association.
This was my first film working with Darrell, and I have to say it was a pretty interesting encounter. I very much enjoyed my time with him; he has a very spontaneous way of working where he will deliberately hold up off from going over the top in preparation and over-thinking things, and try to find his points of interest in the scene on the day
with the actors.
At first that can be unsettling, because obviously from a cinematographer’s point of view you always want to be ready for anything, to be able to plan ahead as meticulously as you can. At the same time I’ve learned through Darrell to let go of certain of these aspects and try to be ready for anything he might throw at us.
It created an interesting working dynamic that really built because we shot over quite a long period,
a total of 75 days filming entirely on location.
We had some specific challenges, for example, the ones that I mentioned in the solitary confinement cell, and that’s where
I really fell in love with the stock. They were really put to the test, and the highlights would hold, the details and the shadows remained, so you ended up with these really luscious blacks.
The same applied in other situations where we shot some scenes dating from the 1940s where there were some dance halls that we wanted to make smoky. Even with a certain degree of smoke you will still have rich shadows, and I have to say the performance of the Fujifilm stocks in those situations was
just astounding.
Had I been able to test
them over such a wide range
of situations prior to the
movie I probably would have
used them more. ”
MARIO JANELLE was talking to ANWAR BRETT
Winnie was partially originated on 35mm Fujicolor ETERNA Vivid 500T 8547 and ETERNA Vivid 160T 8543
Photo main: Jennifer Hudson as Winnie Mandela in jail; bottom left: DP Mario Janelle with Director Darrell Roodt and crew; above right, from top: Hudson and Terrence Howard as Winnie and Nelson Mandela; above right (centre): DP Mario Janelle with Terrence Howard shooting Winnie on location; and Jennifer Hudson as Winnie Mandela and Terrence Howard as Nelson Mandela in conversation
RSON SOUTH AFRICA
“FUJIFILM STOCKS WERE REALLY PUT TO THE TEST, AND THE HIGHLIGHTS WOULD HOLD, THE DETAILS AND THE SHADOWS REMAINED, SO YOU ENDED UP WITH THESE REALLY LUSCIOUS BLACKS.”
FUJIFILM MOTION PICTURE • THE MAGAZINE • EXPOSURE • 57