DEFINITION March 2019

DRAMA | SEX EDUCAT ION

we took the Venice to the main location and spent several days testing lenses, skin tone, colour, exposure, LED lighting, filters and movement. The camera continued to perform really well and, with the backing of Kate Murrell and Eleven, we took a leap of faith and were the second production ever to shoot on it. Films at 59 in Bristol provided all our camera equipment. A special shout-out to the one and only Dave Wride, who was happy to go out and buy several Venice cameras when no one else had them and spent so much time perfecting our kit. Films at 59 and Dave have a really lovely down-to-earth personal approach. They invest themselves, give you time and knowledge, and give every job priority, no matter how big or small. I wouldn’t hesitate to recommend them. DEF: Could you explain the shooting schedules? What shooting plans did JC: The schedule was a pretty standard UK TV drama schedule. It’s all about being prepped and flexible at the same time, so I could give Ben everything and more, but also enjoy each day and be creative without the fear of something not being ready. Of course, none of this is possible without a superb team to make you look good and we were blessed with the best. Gaffer Gary Chaisty and his brilliant team were an absolute delight and implemented my lighting design with ease and good humour. The schedule would change here and there or a location would be lost, and they took it in their stride, always smiling and always happy to graft. Gary also offered up plenty of great ideas and expertly lit scenes if we needed to run two sets at once. The camera team was led by the stoic Ian Pearce, my long-suffering focus puller. Everyone loves Ian and he is a focus ninja. His input was so important, as the majority of the cast were quite new to being on you have for each?

camera. Ian spent time becoming their friend and helping them with the jargon and chaos of being on a film set. Furthermore, he was able to take any unexpected positions in his stride, so the cast never felt self-conscious or intimidated if they missed a mark. However, the absolute key to the success of the show’s look and smooth running was production designer SamHarley, who worked like a machine to keep the style consistently at a high standard. I think she didn’t sleep the whole time we were shooting. With around 105 sets and locations in her control, both Sam and her teammoved mountains to get them up and running and available for us to shoot at a moment’s notice. Sam’s attention to detail and awareness of my needs made every set loads of fun to be in. When you’re faced with high page counts, lots of characters and two cameras running constantly, having a top-drawer designer who personally makes sure everything is perfect on set and thinks about what is needed ten steps ahead pays dividends. Coupled with this, Sam is the loveliest, warmest person in this industry. Ben and I relished each time we were able to step off set and sit in her office to look at the delights she was preparing for us next.

Zeiss Master Primes and Fujinon Premier T2 zooms gave the wonderful paradox of soft but sharp IMAGES Production designer Sam Harley managed around 105 sets and locations, which had to be available to shoot at a moment’s notice

30 DEF I N I T ION | MARCH 20 1 9

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