PRODUCTION FIGHT LIKE A GIRL
something up to the task of shooting in extreme low-light conditions without compromising on image quality. “I knew I needed a camera with a fast ISO, and then the next question was: what lenses can cover full-frame and be fast at T1.4?” After some testing, he realised the CN-Es were an ideal fit for the project and started prepping the camera through Camtec in LA. Working with Kavon Elhami – the rental outfit’s president – the lenses were customised to dial in the specific look Henkels was after for the film. Elhami suggested a modification to reduce contrast and add softness towards the edges, enhancing the artistic feel of the visuals. “He took the front element, just the front edge of the set, and buffed off the coating to be able to detune the lens a little bit to give it a bit more of an edge,” elaborates Henkels. Before heading to the Congo, Henkels meticulously planned the feature’s visual aesthetic. “I shot some tests and then sent them over to Adrian, my colourist, and we created a couple of LUTs,” he explains. “With the grouping of Canon, Camtec and Adrian, I established the set look. When I landed in Congo, everything was situated. I didn’t have the luxury of rolling with a DIT; we shot insanely fast due to the uncontrolled background.” Working in various unpredictable surroundings meant Henkels had to think on his feet. “We would install actors and our scripted environment into a small, tight control area and let the background
WE SHOT INSANELY FAST DUE TO THE uncontrolled background ”
I could hold the camera and the lens, and we used a super-light Micro Force motor. I built a leash to the camera and to my hand, allowing me to put the camera right in between the opponents, so it was immersed,” he shares. “It put the viewers right there in the boxing match and it was incredibly effective at helping them to get tapped into what Safi is experiencing.” Looking back on the journey of creating Fight Like a Girl , Henkels expresses immense pride in the collaborative effort and the exceptional talent of the cast and crew. “It’s amazing when you’re given the opportunity to work with such an amazing script and dialogue that tells such a beautiful story,” he concludes. “Qamata and Hakeem Kae-Kazim’s performances were so deep and soulful. Leutwyler’s work was incredible – and the score is amazing too. I’m honoured to be a part of such an amazing team, who worked in such insane circumstances to pull off a film with such a beautiful and powerful message.”
be organically natural, which really shows in the film.” Henkels is full of praise for the CN-Es, which offered exceptional quality and nailed the aesthetic he was aiming for. “Canon gave me the opportunity to do the final projection, before the final grade, with my colourist and the producer on their beautiful projecting set-up in Burbank. I was blown away by the lenses – they were phenomenal. I must have shot the whole film on T1.4 wide open the entire time.” KNOCKOUT PERFORMANCES When it came to capturing the boxing scenes in the arena, Henkels wanted a different feel from the street fighting shown earlier in the film. The director asked for a more sporty action piece, placing the audience right in the thick of things, which they achieved with zooms, snap zooms and precise choreography. “I ended up using the Blackmagic Pocket Cinema Camera – super compact – with an on-board monitor and just the lens.
GRIT AND GLORY Whip zooms and precise choreography help to immerse viewers in the visceral boxing scenes
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