DEFINITION June 2022 - Newsletter

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YOU CAN RUN, BUT YOU CAN’T HIDE Chase scenes are integral to Tea’s narrative and intensity – proving quite the challenge for Knight and the crew

and internal anger that currently blights our shores. It was, in fact, shot over three intense days that coincided with the UK’s official departure from the EU. “I got behind Tea as I really liked the script and director Sam Walker’s vision,” he admits. “I had worked previously with Sam and producer Margit Sauk on a fashion film for Rankin, so they reached out to me.” THRILL OF THE CHASE “I wanted to achieve a very rough and raw style that matched Amelia’s emotions,” he continues. “The majority of the film is handheld and lit naturally, which works for both the bleakness of the seaside town and the beautiful nature. Bognor Regis is the perfect setting: a typical British seaside resort of former glory, now empty during the off season.” Working handheld in natural lighting presented a host of challenges, not least when capturing the film’s action sequences. Amelia is chased on multiple occasions, and Knight felt compelled to get these sequences perfect, to help underline the overall tone: “The opening chase sequence needed an extreme sense of urgency – these guys are really out to get her. It’s all handheld, either with me running, or shooting out the back of a car. “The final chase on the beach was filmed at high speed with a gimbal out the back of a truck, as I needed the actors to be truly sprinting full speed,” Knight continues. “It

“I’m a big fan of small, intimate set-ups and staying involved in action and emotions. I like to light a space and give the actors freedom”

was a really technical shot to achieve, with Amelia and Donnie sprinting into view from the side, Donnie falling out of frame at the right moment, and then both the camera and Amelia slowing down to a complete stop – while maintaining the same distance.” Tea was shot using a Red Helium with vintage Canon K35 lenses, alongside a basic lighting package that was made essential due to a very modest camera and lighting crew: just camera assistant Matt Rakstins, gaffer Arif Nadeem and gimbal op Brendan Monteiro. For Knight, that’s ideal: “I’m a big fan of small, intimate set-ups and staying involved in the action and emotions,” he admits. “I like to light a space and give the actors freedom to do what they want – whatever feels right for the scene, without limiting them.” GOING THE EXTRA MILE When it comes to supplying kit, Knight has consistently used CVP, knowing that they’ll help him get the results he needs: “CVP will always go the extra mile, ensuring the products I have are right, and I know I can get in touch whenever I need to resolve

BIG BEAST Red technology formed the backbone of production, supported by Canon lenses

77. JUNE 2022

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