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virtually in the ‘Big Country’ and it’s very similar to being in Montana or Utah or Oregon and so I’m using a Western style of photography.
“Recollections of Butch Cassidy And The Sundance Kid come back to me every time I look at the photography style because Butch and Sundance were being chased by a posse and
it’s a bit like the story of this film in many ways, and Conrad Hall, who photographed Butch Cassidy did a wonderful job.”
Tracker was originated on 35mm Fujicolor ETERNA Vivid 500T 8547, ETERNA 250D 8563 and ETERNA Vivid 160T 8543
“I FELT THE FUJIFILM STOCKS WOULD DO ALL THE LANDSCAPES JUSTICE WITH ITS
RICH INTENSITY OF COLOUR.”
Photo main: Ray Winstone (left) gets his man (Temuera Morrison) in Tracker
I used three different stocks – ETERNA 250D for all the day scenes, ETERNA Vivid 160T for day for night and evening scenes, and the ETERNA Vivid 500T for night scenes and interiors. I wasn’t disappointed one little bit.
The weather conditions were interesting to say the least; we had everything thrown at us, but the film handled my interpretations perfectly.
I used HMI lighting with straw
filters for all of the day exteriors with some use of the mixed gold and silver reflection. For the day for night,
evening and night scenes, I just used incandescent lamps with a
mixture of CTO filters, especially
as there were a lot of campfires. ”
THE DP VIEW
HARVEY HARRISON BSC
I shot with a Panavision Millennium camera, Super 35mm, Primo prime lenses, absolutely
n“o zooms, just tracking and big
crane shots.
I chose Fujifilm for the reason of NZ having such wonderful big landscapes that I felt the Fujifilm stocks would do all the landscapes justice with its rich intensity of colour.
FUJIFILM MOTION PICTURE • THE MAGAZINE • EXPOSURE • 61