2008 坎城影展參展短片【夏午】開始網上訂購
何蔚庭導演新片【夏午】DVD 可於全省法雅客及學校咖啡館買到! "SUMMER AFTERNOON" DVD can be purchased online, please write to changhefilms@pixnet.net for order details.

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Wi Ding Ho's debut feature Pinoy Sunday has been selected in

L’ATELIER of Cannes 2009

台灣導演何蔚庭(HO Wi Ding)的第一部劇情長片《台北星期天》(Pinoy Sunday) 入選坎城影展電影基金會的創投競賽。

Here's press release from L’ATELIER 2009

(http://www.festival-cannes.com)

To assist directors in financing and speeding completion of their projects, the Festival created the Atelier in 2005.

For its fifth edition, the Atelier de la Cinéfondation has chosen 15 projects from 14 countries. The selection has been restricted to highlight both up and coming directors: Ho Wi Ding, Caran Hartsfield or Bertrand Mandico, and established directors: Zhang Yuan, Faouzi Bensaidi, Diego Lerman, Danielle Arbid or Malgoska Szumowska.

Alongside the producer(s) of their films, each director will meet in Cannes from May 15th to May 22nd film industry professionals during the course of meetings that are presently being organized.

The Livre des Projets, in addition to a form to request a meeting with our directors, will be available from April 15th on the Cinéfondation website.

South Africa - The Umbrella Men by John BARKER (2nd feature film)
Argentina - Moral Sciences by Diego LERMAN (3rd feature film)
China - Executioner Garden by ZHANG Yuan (11th feature film)
Egypt - Oblivion by Atef HETATA (2nd feature film)
USA - Bury me standing by Caran HARTSFIELD (1st feature film)
USA - Free in deed by Jake MAHAFFY (3rd feature film)
France - L'Homme qui cache la forêt by Bertrand MANDICO (1st feature film)
Italy - Shun Li and the Poet by Andrea SEGRE (2nd feature film)
Lebanon / France - Chambres d'Hôtel by Danielle ARBID (3rd feature film)
Morocco -  Death for sale by Faouzi BENSAIDI (3rd feature film)
Uzbekistan - 40 Days of Silence by Saodat ISMAILOVA (1st feature film)
Poland - Sponsoring by Malgoska SZUMOWSKA (4th feature film)
Portugal - Red Cross by Hugo VIEIRA DA SILVA  (2nd feature film)
Taiwan / Philippines - Pinoy Sunday by HO Wi Ding (1st feature film)
Turkey - Our Grand Despair by Seyfi TEOMAN (2nd feature film)

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Jake Pollock's cinematography on "Summer Afternoon" has been praised:

"masterful" (International Film Festival of Rotterdam)

"a technical feat" (Twitchfilm.net)

"tour de force" (Vancouvcer International Film Festival)

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Our lab partner in Taiwan, Modern Cinema Laboratory, is updating its bilingual website

(The current one with Mandarin only http://www.modern-cinema.com/modern_index.htm)

They ask Jake to write about his cinematography on "Summer Afternoon".

Jake's article (in original English and Chinese translation) will be included in the website.

Meanwhile, the English article, with Modern's permission, can be viewed first-look here:

(warning: this article can be technical for layman)

 

When director Widing Ho first told me about his concept for Summer Afternoon, I knew I
had my work cut out for me.  Three actors inside a car on a bright summer afternoon, the camera follows the car down a stretch of highway.  As soon as one exits the car, the camera follows her to a shadowy ditch.  One shot.  Nowhere to hide lights.  How to shoot the scene so that you can always see the actors’ performance, never too dark and never too blown out?   And all the while the cinematography isn’t allowed to call attention to it self.  Should be almost invisible.

We spent some time after scouting locations to plan how to stage the action and at what time of day to shoot so that the sun would always be in a favorable spot for the scene. Most people automatically think of high contrast when they think of black and white; however, I had to figure out how to control the contrast so that we could see as much into the shadows and as far into the highlights as possible.  To extend the grey scale beyond normal while still obtaining a rich print.

Modern Labs and chief lab supervisor Ali were instrumental in helping me figure out which film stock, processing, and printer lights would best suit our needs.  Lately, I like to work backwards when making these decisions.  By trying to establish a low printer light, I knew I’d be stretching the contrast range of the film further than if I printed around 25-25-25.  We shot three rolls each of Plus-X and Double-X, and each roll was printed to a different Gamma (0.4, 0.6, 0.8) a little bit like pulling 1-stop, normal, and pushing-1 stop.  And in the tests we tried different black and white filters, from Yellow 15, Orange 21, Red 23A, and Green 56. 

We quickly decided that the Red 23A helped control the lush tree foliage while making the skin tones pop a little more in the frame.  We also decided that the grain structure of Double-X was too funky for us.  The grain seemed stronger in the skin tones than in the darker tones.  It almost seemed like there was only grain in the skin tones and sky, which would call attention away from the performances.  Even though it was a bit daunting, we settled on shooting Plus-X 5231 and processing at 0.4 Gamma.  By exposing around 40ASA, I was able to get a good image while printing around 20-20-20.  (in the end, we printed mostly around that range, but also had moments as low as 14-14-14!)

In the end, all of our planning worked differently than expected.  We hoped for strong sunlight, but instead got clouds that would come in and out during the shot!  However, the super-low contrast of our exposure/processing system helped keep everything visible within the chaos.  At the end we did four long takes.  Two were processed at 0.4 Gamma, one at 0.6 Gamma (in addition to an establishing shot), and one at 0.8 Gamma.

Post-production for Summer Afternoon was amazingly simple.  After printing part of the first shot, we knew exactly how to evaluate the image on the Hazeltine, which allowed us to make an almost perfect first print.  The only changes we made between prints was to tweak a few spots.  Even though the film only has one establishing shot and four long takes, we changed printer lights within the shots to help see a little further into the shadows or a little more into the sunshine.

In the end, I was probably most satisfied by the image control that Modern Labs helped me achieve.  Sure it’s a high-contrast black and white image, but within there’s an incredible tonal range in between.  The actors’ faces only blow out when we wanted that “violence.”  And even the darkest corners of the forest were still visible.

More about Modern Cinema Laboratory in Kodak In Camera Magazine:

http://motion.kodak.com/US/en/motion/Publications/In_Camera/Imagecare_Program/taiwaneseLab.htm

 

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