Page 37 - Fujifilm Exposure_36 Living The Dream_ok

LANGUAGE
THE DP VIEW
DARRAN BRAGG
H
Fujifilm Motion Picture • The Magazine • Exposure • 35
aving recently committed to becoming a freelance DP, I was very pleased to be approached by Brick and Pin to shoot Fluffy, especially
when I heard about the production’s commitment to shooting on 16mm.
During our first meeting, Mal out- lined the project and I was interested to hear that he was seeking a consid- ered and composed style. Our ideas instantly fused and we had soon devel- oped an engaging visual approach that wouldn’t encroach on the subtle comedic performances.
I felt that in Fluffy, the sense of atmosphere was imperative, and I hope that how we lit and staged the action, within the minimalist setting of the protagonists flat, would create such a feeling. After viewing the first set of one-light dailies, I was very happy with how the Eterna 250D looked, whilst sensing that the nega- tive had a wonderful solidity that would react well to a full grade.
Shortly into production, Mal approached me to shoot his script for RedBlack. After reading it, I sensed that the unstructured, seemingly acci- dental imagery was the antithesis of Fluffy (and to be honest anything I had done before) and so happily agreed.
On the night of the shoot we rigged our car onto a low-loader and lit the first scene. Whilst I thought it looked great to my eye, I felt slightly concerned when I took out my meter as both actors were between 1-2 stops under. Personally I had yet to expose film stock in this way, but remembering the RedBlack ethos I decide to let it go and see how the Eterna 500T reacted.
Three days later when Mal and I viewed the one-light rushes, we were both extremely pleased as the out- standing latitude of the Fuji stock had superbly captured the detail and tone, exactly as I had seen it on the night. ■