Page 61 - Fujifilm Exposure_51_Expo Intl_Spring 2011_ok

“I TOOK ON THE ETERNA 500T AS MY ONE AND ONLY STOCK... I SOON DISCOVERED THAT I COULD PUT ALL MY TRUST IN THE ETERNA 500T.”
With the restriction of tight spaces, practical lights and lack of time, I was often effectively at the mercy of just my focus puller, Goði Már Guðbjörnsson, and ETERNA 500T. More often than I would have liked, I found myself in the position where my meter would give me a two or three stops under the healthy ‘wide open’ on the lenses (T1.4).
Constantly shooting wide open and handheld with both the ship and actors moving, my focus puller had the really tough job of keeping it all in focus with such short depth of field, especially as we didn’t go wider than 25mm most of the time,
as I thought going wider within the tight spaces would take away the feeling of claustrophobia, another ‘character’, as it were, in the story.
While my focus puller kept everything in exquisite focus, the stock performed extraordinarily, giving me the details in the blacks as well as the latitude I really needed.
After seven gruelling weeks within the confines of the boat, with most of the crew seasick at some point or the other, extreme weather conditions and in generally harsh circumstances, there would at least be some pleasant surprises when I sat down to do the final colour grade
with my great colourist Wiktor Sasim.
I realised I could do anything I needed with
the material because the ETERNA 500T stock had performed superbly
with its wide
range of latitude
and its virtually
grainless
structure. ”
Undercurrent was originated on 35mm Fujicolor ETERNA 500T 8573
Photo main: Trawling for drama in Undercurrent; top: G Magni Ágústsson with,
director Árni Ólafur Ásgeirsson (standing behind); above: actress Nína Dogg Fillipusdóttir
FUJIFILM MOTION PICTURE • THE MAGAZINE • EXPOSURE • 59