Interview with director of photography Laurent Brunet, AFC, about the film "A Screaming Man" by Mahamat-Saleh Haroun Official Selection, 2010 Cannes Film Festival
Conversations with cinematographers
For the past few months, we - the officers and initiators of "active dialogues" - have been struck by the accuracy and depth of the contributions to these " active dialogues" between members of the AFC. We now choose to give room to one of them, whose distance from us, both in terms of experience and geography, allows him to understand that our concerns should push us to share tirelessly, in order to build a future for our profession.
Following is an excerpt contributed by Philippe Rousselot, AFC, ASC to these " active dialogues".
Eric Guichard: Yves Cape, hello. Two films that you’ve photographed were in competition at the 2009 Venice Film Festival. Let’s talk about both films, but perhaps we can begin by talking about the one by Patrice Chereau.
You spoke to me about doing tests with the Red, but you ended up shooting in 35 mm. When did you decide to do these tests in Red and why the final choice of 35 mm?
}}Yves Cape: During one of my first encounters with Patrice Chereau, he discussed the possibility of making a film in HD without being specific. He wanted to know if I was up for it. Without hesitation, my answer was yes. Once it was established that I was doing the film, Patrice told me his idea: he had documented one of his plays with the Red and had been surprised by the quality. He wanted to explore that option to see what it could bring from an aesthetic and an economic standpoint.
In British Cinematographer, March 2009
As a little light from the camera tests I visited the AFC Micro Salon at the beginning of February, which was a delightful experience. I must say it was small but perfectly formed.
Held at La Femis, the Film School, not only were eminent cinematographers there but students which added to the "buzz", and gave the whole place a feeling of great energy.
For our Latvian friends, please read the Latvian version of AFC Image Charter.
ATTĒLA HARTA
1. Termina „kinooperators” definīcija.
2. Projekta izpēte kopā ar režisoru un producentu.
3. Darba plūsmas saskaņošana.
4. Filmas attēla veidotāju komandas izveide.
5. Testi un ražošana.
6. Montāža un pēcapstrāde.