Working on style

2014-06-04 17.17.08

We wrote about the style of narrative quite extensively a while ago, but recently we’ve turned the discussion towards the ‘look’ of the film. To be completely honest, there is little discussion here, because I’ve always had complete faith in John Bradburn to determine the ‘look’ of the previous 72 projects. I’ve always approached the projects with a pragmatic approach of asking ‘what can we achieve?’. John was previously the camera leader upon ‘Watching and Waiting’ and ‘The Ballad of Des & Mo’, so he took complete control of the kit at his disposal. ┬áThis time he is directing one of the units, so we’ll be separated on set, and we’ve got to be a bit more co-ordinated around ‘house style’ so that our separate units can shoot and still cut together as one cohesive whole. Synchronising lenses and shot choices will all have to be done before hand.

The most major decision that we’ve already decided upon is that we’ll be handheld. Shoulder mounted cameras shooting as┬ásteady as possible but with the ability to offer us more cinematic movement than we had with the RED in Melbourne. Weight-wise, the C300 won’t be an issue, so we should be able to ‘run and gun’ with our camera teams (built up of John’s students) and get a universal look that means you won’t be able to tell whose scenes are which. In terms of the third unit, Adam Palmer will have a slightly different brief to achieve a solid opening sequence with its own set of unique challenges. We’ll go into that more later.

Exciting times,

James and the 72 team

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