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“I wanted to make the most of whatever available light was around, so I under-exposed and pushed the stock a bit.”
Sparengo, the promo was shot over two days and lit by DP Denzil Armour-Brown. He was faced with many challenges on the shoot, not the least of which was filming underwater.
“That was done on the underwater stage at Pinewood,” he explains, “and we had an underwater operator to do that. I’d never done anything like that before. I’d been under sur- face water before where there’s not that much difference between the light above and below the water, though it does
get six metres down, the light gets a lot cooler.”
Choosing the 35mm ETER- NA 400T 8583 for these under- water scenes, the mostly night exteriors were shot on the new ETERNA Vivid 160T 8543.
“We really pushed the stocks,” Armour-Brown contin- ues. “Most of the moving car shots are pushed by a stop. I wanted to make the most of whatever available light was around, so I under-exposed and pushed the stock a bit. I went for that greeny, tungsteny feel
The renaissance of Directed by Sean De feel a bit bluer. But when you
pop group Take That in the last 18 months has also meant a welcome return to the high production
values of their trademark music promos.
For the ballad I’d Wait For Life, taken from their Beautiful World album, the lyrics are reflected by a dramatic sce- nario. This has the four band members crashing their car into water and experiencing flash- back to earlier events in their lives before being rescued.
Photos: scenes from Take That’s I’d Wait For Life; above left: DP Denzil Armour-Brown
26 • Exposure • The Magazine • Fujifilm Motion Picture