Page 5 - Fujifilm Exposure_44 Damned United_ok

THEBEST
LM’S FIRST SHORT FILM COMPETITION
SHORTS FEATURE
Photo above (left to right): Director of Photography - Chris Seager BSC,
Winner of Fujifilm Shorts 'Best Film' 2009 for Outcasts (pictured right) -
Director of Photography Stuart Bentley, Jerry Deeney - Marketing Manager Fujifilm Motion Picture
phy,” and Lowne noted the framing and composition, Zambarloukos went even further in his praise.
“I believe we were all struck by the design and execution of the light- ing in this film, which had an effort- less quality to it. Everything felt natural and, at the same time, in- triguing. The camera seemed to hover at just the right place and de- spite its very important message the film flowed quite elegantly.”
For BSC President Sue Gibson, the standard of entries was espe- cially heartening, pointing as it does to the future of the organisa- tion she represents.
“I was very impressed by the overall standard,” she smiles, “and that the majority of them had made the effort to shoot on 35mm, al- though ultimately the winner was shot on 16mm, because it’s how you tell the story that counts.”
So maybe some of those who did so well at Fujifilm Shorts 2009 will comprise the future member- ship of the British Society of Cine- matographers?
“Absolutely,” Gibson nods. “Watch this space.” ANWAR BRETT
Outcasts was originated on 16mm Fujicolor ETERNA 250T 8653 Leaving was originated on 35mm Fujicolor ETERNA 400T 8583
A limited edition promotional DVD is available. Contact Jerry Deeney on 020 3040 0404 jdeeney@fuji.co.uk Fujifilm Shorts 2010 opens for entries in Autumn 2009, please visit: www. fujifilmshorts.com
Fujifilm Shorts Winner Best Film 2009:
Title: Outcasts Fujifilm stock used: 16mm Eterna 250T Running Time: 24’35
Fujifilm Shorts Winner Best Cinematography 2009:
Title: Leaving Fujifilm stock used: 35mm Eterna 400T Running Time: 21’18
Nominated for ‘Best Film’ and ‘Best Cinematography’ in Fujifilm Shorts 2009: Title: A Road Apart Fujifilm stock used: 16mm Eterna Vivid 160T Running Time: 20’52 Title: Albert’s Speech Fujifilm stock used: 16mm F-64D, Eterna 250D, Eterna 500T Running Time: 14’23 Title: Bitter Fujifilm stock used: 35mm Reala 500D Running Time: 10’00 Title: Les Mouches Fujifilm stock used: 35mm Eterna 250D, Eterna 250T, Eterna 500T Running Time: 26’30 Title: Mustek Metra Fujifilm stock used: 16mm F-125T Running Time: 7’22 Title: One Of Those Days Fujifilm stock used: 35mm Eterna 500T, Eterna Vivid 160T Running Time: 15’00 Title: Ralph Fujifilm stock used: 16mm Eterna Vivid 160T Running Time: 12’38 Title: The Pond Fujifilm stock used: 35mm Eterna 250D Running Time: 16’00 Title: Tree Fujifilm stock used: 35mm Eterna 500T Running Time: 12’06 Title: Vendetta Fujifilm stock used: 16mm Eterna Vivid 160T,
Eterna 500T Running Time: 16’00
taining right up to its last frame. It’s well directed and acted and there- fore a worthy winner.”
“For me,” Sherborn adds, “Out- casts stood out on a multitude of lev- els; the story, the characterisation, the pace and emotion were captured brilliantly, the cast and crew deliver- ing a superb piece of work which challenged the viewer and offered them laughs and empathy through- out its entire 24 minutes and 35 second running time.”
Metcalfe agrees. “I found it thor- oughly entertaining and utterly mad; this film has fantastic charac- ters and gives a vibrant portrayal of society’s outsiders.”
“It touches a very moving aspect of humanity,” Zambarloukos notes. “The level of filmmaking was very high, with a great marriage of visual content and story from all departments.”
“It had the jury laughing out loud,” Lowne reveals. “It was a well- written script that was very quirky and, of course, well photographed.”
The lavish prize package effec- tively gives both winners the key ele- ments needed to work on their next project on film, which Bentley and Stewart accepted on the day with ev- ident pride and satisfaction. Stew- art’s work on the powerful Leaving drew particular praise from the judg- ing panel for its quality and maturity.
“It displayed a confident visual style that was consistent throughout the piece,” Seager says. “Most impor- tantly, it fully supported the highly emotional subject matter of the drama. The camerawork and lighting was never of an ‘in your face’ style but more observational, which was something that I really liked.”
“Consideration was given to all aspects of the cinematography process,” Sherborn adds, “from the composition, lighting, style and overall camera skills demonstrated in each film.”
While Metcalfe calls Leaving a film “intensified and enriched by accom- plished and consistent cinematogra-
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