GB : No, we have a small cabinet, with a 9-inch monitor, and an Astro waveform monitor. WS : It’s true that you can shoot with very little now. For the past four or five years, working with HD has meant paring down the gear, to return to the level we had with 35mm, before the invasion of video assist. After all, the value of HD is to be able to shoot light. We simplified everything and ended up with the system as it is now. After two weeks we cleaned house : out went the 24-inch monitor, its cables, and other control monitors. I had really covered myself in terms of accessories, which tended to turn the set into a science project. So we went off with a set of Canon HD primes, not the set that exists today, and with a zoom, which is still used these days. We went to Bogard to test the 900s and the test film out at GTC was very good. There were a lot of interiors, with wide-open aperture shot with a PD150. The film had not been shot with a view to film output. He showed me a 35mm copy of Of Woman and Magic and, in fact, the result was not satisfactory. Upon reading the script, I found many notes relating to lighting, and I told Claude that I didn’t think the DV format really lent itself to the project. When Little Lili was in prep, Claude and Annie who were the producers at the Films de La Boissière company decided to shoot in DV, as it was low budget. Then Claude shot Of Woman And Magic, as part of Arte’s Small Cameras series, with Philip Welt as cinematographer.Īrte decided to blow up the movie on to 35mm film for theatrical release, and it was a success in the theaters, but DV blown up to 35mm, wasn’t very good. The soccer sequences were shot in Digital Beta in order to record the games in continuity. Working with Peter Abraham, my gaffer at the time, we rigged up some lights using mercury or sodium bulbs instead of the usual tungsten. It was then that I really started working with sodium lighting. The film is the story of a young soccer player shot with very little lighting. Gérard de Battista : In 1999, I worked with Bernard Stora on A Considerable Inconvenience produced by Annie and Claude Miller and Films de la Boissière. What was your initial approach, and how did you enter into his world and his team ? Wilfrid Sempé : I wanted to go back to your first collaboration with Claude Miller on Little Lili.
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