Page 29 - Fujifilm Exposure_32 Aardman Studios_ok

“I particularly loved the F-250 daylight stock and used that primarily for my exteriors because it wasn’t always sunny...
It worked very well and I’d recommend it to anybody.”
THE DP VIEW
PETER SINCLAIR
O
ne of the biggest challenges was shooting in an Alpine hut because they didn’t really have windows as they were so high up. So there was lots of
firelight and candlelight.
We’d go from some very dark
Slovenian interiors of the grandfa- ther’s hut – wood, poverty, straw – to the magnificence of the Frankfurt house with candelabras to die for. One of the interesting things was to contrast photographically the two ways the families lived.
However, the weather was proba- bly the most challenging of all. We had all kinds. In the valley of Alp’s hut, the sun would rise at 9.15am and be gone by about midday because the walls of the valley were so steep.
It’s certainly a challenge to shoot scenes in such a short space of time and at that altitude where the weather changes in minutes.
The editor has done a wonderful job of using the landscapes to punctuate the weather changes. You can actually see the clouds and storms rolling in in-shot.
“I particularly loved the 250 daylight stock and used that primarily for my exteriors because it wasn’t always sunny. It worked very well and I’d recommend it to anybody.” ■
Fujifilm Motion Picture • The Magazine • Exposure • 27