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This topic comprises 2 pages: 1 2
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Author
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Topic: Bradford Widescreen Weekend 2004
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Stephen Furley
Film God

Posts: 3059
From: Coulsdon, Croydon, England
Registered: May 2002
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posted 03-23-2004 07:12 AM
Michael, I looked around, and saw several people, but I didn't notice you. Do you look anything like your picture?
I saw all of 'Hamlet', and Dion's presentation, but I had to leave at the start of 'Forbidden Planet' to catch the last train. The service from Bradford to Leeds was eight minutes late off the Interchange, which gave me a tight connection to the London train, but I made it, and got home about 00:45 on Monday morning.
It's a pity that we don't see more work shot on modern 65mm stocks, I understand that 'Hamlet wasn't even a very high budget production, though I can't remember any figures.
The main set looked a difficult one to work on; Alex Thompson commented on the mirrors, but there were other shots, e.g. where the camera followed a character from the main hall into an ante-room during a shot which look quite tricky to do, though not as bad as in 'Russian Ark', where a character would move from room to room, along corridors, down stairs and out of the building into the grounds where they would meet other characters who had come from elseheere. That must have been a nightmare to do, and to direct.
Some of 'Hamlet' seems to have been done on a Steadycam, or similar; I wonder if these were the scenes which were done with the Arri 765. I saw one of those at the exhihition at Grip House Studios a few years ago, the same exhibition where I saw 8-35 projected, and it's a lovely little camera. Alex also commented on an Arri camera being used to cover for one of the main cameras while it was sent to the USA for repair. A five day turnaround for this seems remarkable.
Does anybody know what it costs to hire a 65mm camera? My guess would be that it's not that much more than for 35mm, as a camera that's out on a job, even at a low rental, is earning something, whereas one sitting on a shelf is just taking up space and earning nothing, and there can't be a great demand for 65mm gear at the moment. Is this the case?
The shallow depth of field was apparent in several shots, where it could have done with being a little greater.
Sadly, as with the other recent 65mm productions, we haven't seen any great interest in greater use of the format. 'Hamlet' is now eight years ago, and there seems to be no sign of anything else using it.
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This topic comprises 2 pages: 1 2
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