IT ’S A SIN PRODUC T I ON .
STARS IN THEIR EYES Ritchie (left) and Colin (below) move to London. DOP David Katznelson (bottom right) and B Cam focus puller Mike Richardson (bottom left) on set
whip pans to enhance the energy. But this wasn’t the tune throughout, because two very distinct worlds inhabit this warm, yet harrowing series. When we first meet the messy-haired and grinning Ritchie, the main character, he is at home with his old-fashioned parents on the Isle of Wight – and although he waves goodbye to them to begin studying in London, they feature throughout. “When we observe his parents, the camera is motivated. It’s always static – either on a remote head or dolly,” says Katznelson. The DOP also went with two types of lens to distinguish between the different elements of the story. He used Cooke S6/i anamorphic lenses for the more conventional scenes of Ritchie’s parents – and a Canon K35 spherical lens for his life in London. Katznelson explains: “Anamorphic lenses have slightly more imperfections, and because of the depth- of-field, you’re prohibited from getting close to the actors. Spherical lenses allow you to be much closer to the action – and were perfect for capturing the sparkle of the characters’ lives.” However, there were times when their worlds collided, and it always prompted a discussion about how the camera should move – and which lens to use, based on where the crew wanted the focus of the scene to lie. “For example, it was important that the scenes with Ritchie, his friends, and his parents at the hospital were from his perspective – he was still full of life and unapologetic about his illness. But, when his parents drag him back to the Isle of Wight and have more control over
how the disease should be managed, it’s from their perspective.” ALL NATURAL Katznelson shot on the Sony Venice – a camera chosen specifically for its Dual Base ISO. He asserts, “The 2500 ISO setting means you can shoot in very low light, which was key for me, since we worked from September to February with a lot of day scenes. This essentially granted me 1520 minutes of extra shooting time per day.” The Venice also has the ability to be split in two, giving filmmakers more agility. This is called Rialto mode, and it’s fashioned using a cable that fits between the sensor part of the camera and the recording part. “It makes it very small. I was able to get it into tight spaces
“The 2500 ISO setting means you can shoot in very low light... this essentially granted me 1520 minutes of extra shooting time per day”
21. SEPTEMBER 2021
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