Pro Moviemaker Spring 2018PMM_SPRING 2018

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Go- anywhere lenses

Experienced cinematographer John Conroy’s latest movie is Idris Elba’s directorial debut Yardie – for which he used Sigma Cinema Zooms to shoot atmospheric footage

T here are many facets to the shooting of a major feature film, and a number of tools required to cover all the requisite bases. So, while the bulk of the filmingmight involve a full film crew and all the attendant paraphernalia, there are also crucial elements that are best suited to a more individual approach - namely one camera operator, no extra lights and a minimumof kit. It’s a fact well understood by cinematographer John Conroy, who can boast over 30 years of experience in the business. During this time he’s amassed a credit list of over 70 productions, while working with A-list directors such as Tim Burton, Ron Howard, Paul Greengrass, Jim Sheridan, John Boorman and Joel Schumacher. He’s also shot award- winning films like Parked and over 40 hours of British prime time drama, such as Silent Witness , Luther and Mr Selfridge .

“The quality of the footage they delivered was also outstanding and they were a good colourmatch” based onmutual trust, making John a logical choice for this project. However, it was not an easy story to bring to the screen, thanks to the need to create and maintain the correct period atmosphere throughout, all within a tight budget. John’s latest project is Yardie , Idris Elba’s directorial debut that centres on the story of Jamaican drug gangs during the 70s and 80s. He made his connections with Idris through Luther , and the pair have built a great working relationship

While ARRI ALEXA cameras were used for the bulk of the filming, which took place in both Jamaica and London, John’s role went way beyond that. He was also responsible for the incidental filming that was so crucial to the overall project. In particular there was a need for some atmospheric dawn and dusk footage, particularly of skies, and for these shots it would have been uneconomic and unwieldy to employ a full crew. Instead John filmed these sequences on his own, and for this approach to work he needed a lightweight outfit capable of delivering the kind of quality required for a major feature film.

Travelling light “My idea was to set out early in the

morning, before the crewwould be ready to start working, and to shoot the material I needed a couple of hours before the day actually got properly started,” says John.

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PRO MOVIEMAKER SPRING 2018

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