STANDOUT CINEMATOGRAPHY
Not only did The Ballad of Wallis Island give us a range of catchy folk songs like Give Your Love and Slip Away , it’s also a moving tale of past loves and heartbreak. Originally a 2007 short film ( The One and Only Herb McGwyer Plays Wallis Island ) by director James Griffiths, The Ballad of Wallis Island was shot by DOP G Magni Ágústsson, ÍKS. Ágústsson opted for the ARRI ALEXA 35 with LEITZ THE BALLAD OF WALLIS ISLAND – Oliver Webb
PRIME large format lenses to shoot the film and used natural light sources to portray the beautiful, rugged island landscapes. Wales acted as the fictional island with the main issues involving the erratic weather. Although, ultimately this was a blessing in disguise as the greys and blacks contrasted with the hard light, resulting in a moody, atmospheric backdrop to the film’s poignant story.
– Nicola Foley ADOLESCENCE
Reuniting the Boiling Point team of Jack Thorne (writer), Stephen Graham (co-writer/exec producer/ actor), Philip Barantini (director) and Matthew Lewis (DOP), Adolescence made headlines as much for its filmmaking approach as its harrowing story. As is well known, each episode was shot in a single, continuous take – but it never feels like a gimmick or the filmmakers showing off. In fact, it suits Adolescence ’s unflinching storytelling perfectly – not allowing the viewer a moment to relax as the devastating narrative unfolds. The team battled signal issues, technical failures and the relentless physical challenge of capturing the performances in full each time. So many things could go wrong and kill a take – but thanks to incredible talent behind and in front of the camera, military-level coordination and some important pieces of kit, they pulled it off to make (IMHO) the best telly of the year. When I interviewed Matthew Lewis earlier this year, he told me that the shoot simply wouldn’t have been possible without DJI’s Ronin 4D. This prosumer camera might be a surprising choice, but its small form factor and self-stabilisation allowed maximum agility. They could run with it at full sprint, slap it on a drone, pass it through windows and it’d stay perfectly steady the whole time. It also allowed the use of a variable ND filter, which made exposure control more manageable. For Lewis, Adolescence was also a lesson in how little you need to make a shot look good from a lighting perspective. He and gaffer Max Hodgkinson got clever with blocking and using practical and natural light, enabling the quick-paced production to keep rolling and looking great, while the VELVET KOSMOS 400 colour fresnel fixtures provided hard-light sources. With its unbelievable ambition, complex choreography and blistering performances, this show raised the bar and showed how powerful a well-executed oner can be. It deserves all the awards that come its way.
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DEFINITIONMAGS
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