Stills
Lola Mooij was a cinematography student at the Netherlands Film Academy, who graduated in 2020. One of her dreams is to shoot a period piece, and when this Bolex assigment came up, she worked with Merel Ter Braak to get some dressed from the 16th or 17th century to make a tender love story.
We zullen kijken naar flarden uit de jonge meisjes hun kortdurende verboden verhouding. We zien 3 fases: het ontstaan, de roze wolk en het einde. De sfeer is nostalgisch en melancholisch en het zal aanvoelen als een herinnering. Het verhaal eindigt bitterzoet als een van de twee de relatie beëindigd maar in het geheim nog steeds van haar houd.
De film werd gedraaid op s16 mm kleur-film op een mechanische bolex en zal geen sync geluid hebben maar gebruik maken van een gecomponeerd muziekstuk.
For this project, I worked intimately with Lola, who directed and shot the project. My responsibilities varied during the runtime of this project, which I highlighted below.
May 2021 - Present
From the moment we received the material from being developed and scanned in Belgium, I handled the files, keeping track of the colorspace and making sure the editor could get started the moment they wanted.
24 april 2021
Making sure that the planning would be met, we started our day with 42 planned shots, of which we managed to shoot around 30 of them. Keeping track of the amount of film left on the roll was a crucial one for checking if you are actually shooting to film or not.
September 2020 - April 2021
To make this project work, we actually really wanted a castle. So we spend a couple of months trying to gain access to any castle within productional reach. This however proved to be quite the challenge and in the en we got confirmation from Huzie Frankendael.
Lola and I produced this project together, we fixed the location, which was difficult since we wanted to shoot during the COVID pandemic.
Starting in pre-production, I can bring multiple departments together to make a solid plan how to combine their strengths to make the plan happen. In this case, the color-managment was unique due to the celluloid being developed outside of our control.
Lola had an idea of how to start and we planned the shoot together, but in post-production I had a complete grip on the planning, making sure Lola always knew what was happening and managing the dataflow and the instructions of the input and outpu.
Beforehand we knew that the delivery would only be for internet, and no major deliveries would be required. This allowed us to be very flexible right up to the final steps.