Page 11 - Fujifilm Exposure_30 Archangel_ok

harsh look of his life struggling in Los Angeles. It really helped separate the feeling of those two environments.”
The Reala 500D, Sher recalls, also proved quite helpful from a technical standpoint. “Reala is the magic stock for shooting under practical lights, particularly fluorescents,” he notes. “It completely removes that green spike. We shot a scene in the waiting room of a real doctor’s office and we didn’t have the time or the means to swap all the lighting out, so I had to just shoot under mixed lighting con-
ditions. I had no problems printing the scene at all.”
Another location, inside a real hardware store, was even more chal- lenging. “It was just an awful environ- ment for shooting,” says Sher. “The light wasn’t even fluorescent.
“The store had these pure industri- al lights that would have taken a full 57+ magenta correction. So I tested the Reala and it was amazing. It came back almost fully colour corrected on a 25 light and the skin tones were nearly perfect right off the bat.”
“But when I saw it printed,
I realised we probably didn’t even need to do that. The Reala brought all the uncorrected lighting to the centre, and I think it could have done that even without the plus green.
“I was always concerned it would be difficult to time,” he continues, “that we’d be fighting all this magenta as we pulled the green out and skin tones would go crazy, but it was actu- ally one of the easier scenes to time because I shot it with Reala.”
Sher is proud of his contribution to what he feels is a wonderful story. “We wanted to allow for a certain absurdity and stylisation within a very real environment,” he says. “We want-
Photo main: Peter Sarsgard, Natalie Portman and Zach Braff in a scene from Garden State; Far left: Zach Braff and Natalie Portman; Above: On location with DP Lawrence Sher (right) and Zach Braff behind the camera
Conjuring up the warm and quirky world of Zach Braff’s written and directed feature debut, Garden State
Fuji Motion Picture And Professional Video • Exposure • 9
The climactic scene shot at Kennedy Airport’s international terminal may have put Reala to the biggest test of all. “There were five different kinds of light sources,” Sher explains. “We had the terminal for four hours so there were very few options as to what we could do with the lighting. I shot using the Reala and to deal with the mixed lighting I added some plus-green to some of the sources to even it out a bit.
ed the film to be utterly real and natu- ralistic with just a little taste every once in a while of lyrical surrealism - a bit of magic - and I think we were able to pull it off.” ■ JON SILBERG
Garden State, which was partially originated on 35mm Reala 500D 8592, is currently on release in the UK after being show- cased at the London Film Festival