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He enlisted the help of old friend Haris Zambarloukos BSC – a world-leading expert on 65mm cinematography. Still, their plan was to keep things simple. “There was an element of improvisation to what we were doing. No dolly, no gimbals, an almost Bressonian simplicity, partly driven by necessity and needing to have as small a crew as possible for health and safety issues,” he explains. “No remote focus and no wireless video, not least because, to attach these, and power them via the GFX100, would have meant building out the camera to a degree that slightly defeated the purpose of using one this compact.” Fujifilm offers a wide range of native GF mount lenses for the GFX100 and GFX100S. With the use of a PL adapter, some Cine lenses, including the Premista range of dedicated Cine Zooms, cover the full sensor, giving DOPs some interesting options. “I’d hoped to get Hussain to the Troxy to film him, but when his schedule diverged from ours at the eleventh hour, I had to go to his studio on my own with a few lights and the GFX kit, and persuade him to spend a couple of hours performing the piece for me,” says Polonsky. “Being my own focus, grip and DIT was a challenge, but the fact that the GFX kit was so simple saved me in that situation. I’m very happy with the footage, which I shot using the Fujinon GF45mm and GF110mm still lenses. Although they are focus-by-wire, they still worked well in this shooting situation and rendered lovely, clean images with beautiful bokeh and focus fall-off.” Cue back to the Troxy, where dancer Will Thompson, choreographed by the brilliant Maxine Doyle, takes to the stage as a visual companion to Manawer’s words. Polonsky opted for Tokina Vista One prime lenses, attached via an Alpa PL adapter. “There was an element of improvisation to what we were doing, driven by necessity”
IMAGES With a large sensor and detailed colour science, Polonsky enjoyed the unique perspective offered by the Fujifilm GFX100
“The Tokinas are dedicated cinema lenses with precise focus markings and open up to T1.5. I had limited lighting at the Troxy, so fast lenses were a help,” he says. The resulting film certainly raises awareness for the struggling arts industries hit hard by the pandemic, and the dialogue engages the viewer about how this past year has affected our mental health. “We have all, to some extent, been prevented from doing the things we love, and for most of us, our livelihoods have been affected too,” Polonsky says. So, this film is an expression of our experiences this year and, in the end, a portrayal of one person managing to weather the storm and keep creating, just as we were able to with this film, with the GFX100.”
MORE INFORMATION: jakepolonsky.com | fujifilm-x.com
APR I L 202 1 | DEF I N I T ION 09
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