THE DEVIL’S PROMISE PRODUCTION.
Still, Teague says there were no issues with delivery and that the post house unit ‘did an amazing job’. What’s more, the series was wrapped up to hit the autumn delivery for MBC’s streaming service, Shahid VIP. “This was a fantastic effort by everyone involved from CGI, grade, sound and deliverables teams when you consider the scale of this project,” insists Teague. WORK LIKE AN EGYPTIAN Egypt isn’t synonymous with TV and film, but Teague points out that its industry is on par with most others. “Don’t forget, the Egyptian film industry is older than the UK’s,” he says. “Egyptian cinema has been going as long as ours; it’s very established. Their crews have excellent technical capabilities – in design, working with cameras and all departments on the floor.” Cinematographer Mahmoud Youssef made use of two Alexa Mini LFs with large format Arri Signature Prime lenses and a 2:1 aspect ratio. It was Teague’s first time with the glass, but instantly he knew he’d made the right choice. “I’d used the camera before on many occasions, but not these Signature lenses,”
he says. “We did a camera test for a day to try out three sets of optics. I’ve shot anamorphic before many times on a feature and really enjoyed that.” In Teague’s opinion, 2:1 is the perfect aspect ratio for high-end television, because it gives the viewer the sense of film. “You want the audience to concentrate within that frame,”
“The Egyptian film industry is older than the UK’s – their crews have excellent technical capabilities”
SET APART Some monumental challenges had to be overcome for the series to be finished on time, including dealing with the complete relocation of Ukrainian effects house Terminal FX upon Russia’s invasion of the country
13. JANUARY 2023
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