DEFINITION December 2019

DRAMA | SCHOOL’ S OUT FOREVER

ahead. He just put a lot of time and effort into it, and a lot of care.” PANASPEEDS “We were the first narrative in the UK to use the Panaspeeds,” Hole notes. “With large format, there’s now starting to be some classic glass coming through – they’re having to make new glass for the new sensors. We did shoot full-frame… they remind me of Super Speeds, a little bit bigger than Super Speeds, but in terms of look and flexibility. They had character, they had great centre sharpness, and if you filtered them, you could use them for a couple of different things.” Hole shot the entire production through 1/8 Black Satin filters, with “the Glimmerglass now and then”. “We used diopters on anything that was within eight feet that was on a wider lens. I thought that gave us a nice look,” Hole opines. “On our main character, we found that the 35mm was his lens, and we’d use the diopter on any shot that was within eight feet.” The production was monitored almost exclusively on SmallHD displays, and Hole says he was “tempted to go HDR on this film”. He adds: “I think there’s going to be an HDR finish. I looked at some HDR stuff in test and it looks amazing on the sort of exterior stuff. It was really nice, but on the interior I probably wouldn’t use it as much.” Unusually, Hole found himself enjoying the low-contrast possibilities afforded by the Venice’s wide latitude. “I quite like the fact that it gave you that naturally low -contrast look. Usually, I like contrast.”

IMAGES (Above) Thomas Hole with the Sony Venice, and (below) Thomas with loader Josh Tilley, first AC Alasdair Baines and grip Jack Parry

We used diopters on anything that was within eight feet that was on a wider lens

LOOKS While Hole and director Milburn had established a look for monitoring in pre- production, sheer time constraints made it difficult to spend much time exploring colour options on set. “It’s a funny one, because we were shooting so rapidly,” Hole remembers. “We built up a look in pre-production. I have a look that I’ve used previously with the Venice that I love, but we didn’t do a lot of colouring on set. Maybe it was time and schedule. I didn’t have much time to go off and have a play around.” At the time of writing, School’s Out Forever was a few weeks from being graded under the able hand of Andrew Daniel at Molinare. “He showed me some work he’d

previously done with Venice,” Hole says. “When we were choosing graders, that helped me a lot, because he showed me some really beautiful naturally lit material. That’s happening in December.” Definition spoke to Hole the day after he’d wrapped a commercial for Facebook in Albuquerque, and just a few days before he was leaving for Brazil to shoot for Formula 1. “And that might be my year,” he concludes. “I’m hoping to get into the edit a bit with Ollie – he was very keen on me coming in.” Otherwise, he says, perhaps with some relief, “I’m going to take December off.” REBELLION HAS RECENTLY BOUGHT A £100M PRODUCTION FACILITY IN OXFORD .

36 DEF I N I T ION | DECEMBER 20 1 9

Powered by