Page 20 - Fujifilm Exposure_30 Archangel_ok

OUT OF THE SHADOWS
“I felt that if I could incorporate the required technical elements into a cohesive story, it would take the demo a step closer to its ultimate purpose.”
continued from previous page
Sue Gibson took over from Ron to shoot the transition from day to night - the last interview, set on rough forest track (Pinewood’s back lot). The tran- sition from day to night is effected by a ‘car wipe’ revealing the same scene after dark. The rough track is ridden over by an equally rough looking bike gang - their headlamps invading the darkness are offensive to the Shadow, and thus they become the first of the Shadow’s targets.
Incorporating a welding scene was technically interesting and as visually as dramatic as I’d hoped. Extinguishing a welding torch with one’s mouth is a technique best not tried at home, but for the Shadow, it’s all in a night’s work! Howard Watkins at Lipsync Post composited this with a perfect touch.
Jack Cardiff brought his immense expertise to bear on the next two scenes, set in a foetid alleyway. Here, two street urchins - one played by my daughter Olivia - search the dustbins by torchlight. Nearby Sir John Mills is a threadbare tramp; ironically, his costume was the most costly piece of wardrobe on the whole film.
“Well, you can’t expect an actor
of his calibre to wear something from Oxfam, can you?” explained the wardrobe lady. Needless to say I shan’t forget the wonderful atmosphere as these two huge talents worked together – none present will forget that night. We finished early too,
a true win/win situation.
Much of the film’s developing atmosphere and narrative is created by its soundtrack. For this task,
I joined Olympic Ceremonies colleague Paul Stephanidis in Athens to work on this crucial element. Paul’s rich, atmospheric and diverse tracks were mixed for cinema surround, Dolby SR-D, at Lipsync Post.
Paul’s thumping dance track per- fectly accompanied the film’s closing scenes, which were shot with great skill by Phedon Papamichael ASC, who rapidly warmed to our British meth- ods and (technical) vocabulary!
He made a rather tired night club look fabulous on film.
The Eterna 500 stock served him well, and the shots are some of the defining images of the film. Fittingly, the film ends using the smallest possi- ble light source, a handheld Kinoflo simulating the glow from a mobile phone. By the end the Shadow has
succeeded restoring darkness to all she surveys, and as it (almost) says at the end of Bond films. The Shadow will return in...
The film was tremendously satisfying to make thanks to the commitment to excellence of all involved - yet again Britain’s crews and facilities showed their mettle on the world stage - Thank you. ■
Lights 2 was originated on 35mm & 16mm Fuji Eterna 8573/8673 and the product is expected to become available in the UK during February 2005
Fuji Photo Film (UK) Ltd & Glory Film Co. would like to extend particular thanks to the following suppliers:
Cameras and Grip • PANAVISION Lighting • LEE LIGHTING Location • PINEWOOD STUDIOS Laboratory • DELUXE Digital FX and Titles • LIPSYNC POST Neg cutters • TRUCUT Audio Surround • LIPSYNC POST
Marcus Dillistone can be contacted at: e-mail - marcus@glory.co.uk Glory website: www.glory.co.uk
Photos: some of the attendees at both the 20th Century Fox and Pinewood Studios demo launches
18 • Exposure • Fuji Motion Picture And Professional Video