After “Golden Rendezvous”, I was constantly travelling all over the world, mostly on commercial assignments with Ashley, all shot on film … mainly 35mm Anamorphic. These were the prestigious “big brand” commercials, 2-minute cinema commercials and our “crew” consisted of just four people. Most of the time we flew to London, and then on to wherever the filming would take place. The crew: Ashley was the director/operator and I was the 1st AC/2ndAC sometimes the operator and most times the DP. The producer worked out of London and also assumed the role of 1st AD. The client was also the art director. On occasions, we would pick up a 2nd AC if things were going to get crazy, which they often did. We filmed every sunrise, every sunset and everything in between and while it was pretty exhausting it was extremely exciting. Average shoot … 4 days. We travelled with a relatively small camera kit. 2 x 35mm Arri IIC bodies, a flat base, Angenieux 25-250 zoom, a set of Cooke series II primes, Kinoptic 9.8mm, O’Connor fluid head, long and short legs and a low boy. Lighting; 2x Blondes, 2x Red Heads and 2x Sun Guns. I built a portable 4x4 frame for diffusion/gels etc, carried in a PVC. 24x rolls of film. When shooting anamorphic we used Arri IIC’s modified for 2x perf pull-down supplied by Technovision out of London or Rome, giving us an effective 800’ per roll. I carried a comprehensive tool kit with some specialized tools for camera maintenance and repair as well as the Arri maintenance manual because “water exposure” was often an issue. The kit that I put together was in a custom fitted case and although most of the tools have been scavenged the cut out shapes in the foam give an idea of its contents. Two very important items; a 35mm film developing tank and basic chemicals … D76 and fixer, there were countless times when I needed to check basic collimation due to the rigours of international travel, even a loose rear anamorphic adapter … challenging!
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