Скачать с ютуб Shooting BRIGHT STAR (with Jane Campion & Greig Fraser, ASC, ACS) в хорошем качестве

Shooting BRIGHT STAR (with Jane Campion & Greig Fraser, ASC, ACS)

A behind the scenes featurette with plenty of raw footage from the shooting of the film in Hertfordshire, England, as well as comments about the film from different cast and crew members. For educational purposes only. Non-commercial purposes. Greig Fraser on BRIGHT STAR: " We started the shoot in February or March and shot all the winter exteriors first; then we went inside for seven or eight weeks, and then we went back outside in spring/early summer. While we were shooting interiors, we'd occasionally go outside to shoot scenes like fields full of flowers. Almost all of the snow in the movie is fake, but one weekend during the shoot, London had its biggest snowfall in 15 years, and I went out and shot all day everyone knows how much it costs to make snow, even for a single shot. I had my own Arri 235, and I owned the lenses we used on the show. I shot several rolls, and one of those shots made it into the film. Another scheduling challenge was that Jane wanted to shoot in continuity as much as possible. The story spans four years, and there were certain blocks of scenes she wanted to shoot in order to help the actors maintain emotional continuity. It was a logistical nightmare - it meant going from a scene in the front, right-hand side of the house to one in the back, left-hand side - but I put it out to my guys, and they made it happen. Gary put a second dolly upstairs so we wouldn't have to move one up and down the stairs, and Mark choreographed our lights outside so we could physically go from a scene where Fanny storms out of a downstairs room to a scene where she's crying in a room upstairs. (...) My perfect-world scenario would've been to control existing light with negative fill and solids and not put light through the windows, but England has very inconsistent sun. We didn't have the resources to completely tent windows and create our own light, so we just had to go with it. There were a lot of scenes that went in and out of cloud cover; I just set the exposure where it should be and hoped like hell the sun wouldn't come out! At the start of a take, we had someone watching the sky, and they'd say, 'We've got about a minute of clouds.' So we'd go for it, and then, in the middle of the take, the sun would come out and light the whole rooml The digital intermediate is really important in situations like that; if the director decides to use a shot where the exposure is changing, the DI can help even out those differences. (...) We had to remove every trace of electricity from the feel of the light, so we diffused them more heavily than I usually do. Occasionally we used real candles, too. Ben and Abbie have very different skin tones, so we had to warm up the China balls we used on him and cool down the ones we used on her to bring their skin tones closer together. We did the same with their poly bounces - we sprayed his with tea and hers with blue dye. In combination with their makeup and wardrobe, it felt like it worked. (...) Jane knows I shoot a lot of handheld, and she made it clear Bright Star wasn't handheld, but she occasionally let me loose. Sometimes we'd try it and decide it didn't work. The Valentine's Day scene was pretty improvisational; I could almost go 360 degrees around the actors if I wanted to. I like to work handheld. Coming from a stills background, I'm used to having the flexibility of the camera on my hip. I do my own operating, and I always try to build the camera small enough that I can put it on my shoulder. Sometimes I find a frame in the viewfinder that seems to be the best frame, but when I've got the camera on my shoulder and my eye on the eye- piece, I realize it isn't quite the right spot, and if I'm handheld, I can just shift the frame. I always try to light so I have the flexibility to do that. (...) I shot most of the film with Cooke S4s, but I used Optica Elite Primes for certain applications, some close-ups and landscapes. I think lenses are the most important tool cinematographers use, and it always frustrated me when I couldn't get the lenses I wanted because someone else was using them or the budget wasn't big enough. I also wanted to be able to go out and shoot some things by myself, and when you rent lenses, crew politics are always involved with that."