The meaning of shooting on “ETERNA”
On one day in September 2017, a camera that nobody had seen yet was placed in a meeting room of the image production / photography technology company UPSIDE company. It was a prototype model of Fujifilm X-H1. A technical meeting was held with a DP “Masahiro AIDA” to shoot a demonstration video of this camera which will be announced at the beginning of 2018. AIDA has been a camera operator and DP for the whole series of famous Japanese TV drama “Aibou (Partners)”, and also shot numbers of many TV drama & Movies. He is one of Fujifilm camera owners and his favorite one is X100. He always brings the camera with him for location scout and principal photography.
A most significant point in X-H1 demonstration film is that this new camera will be installed a new film simulation “ETERNA” which is a Fujifilm’s negative film for motion pictures. However at the beginning, Fujifilm was concerned to use ETERNA in a movie shooting. Film simulations such as “PROVIA”, “Velvia”, and “ASTIA” are reproduced from reversal films for still-photography and those film simulations are well-known by still photographers who ever shot on film. But “ETERNA” is for motion pictures and not common for regular people. Because ETERNA is a negative film, the final product/image will depend on how it’s developed. For the demonstration film a DP must be someone who has experienced the negative film “ETERNA” and is also familiar with advanced digital camera technology. AIDA had shot movies with the negative film “ETERNA” and has great knowledge about latest digital imaging tachnology and most updated digital workflow. This time, he took many roles as a camera operator, DP, director and screen writer in the demonstration film.
Lake Motosu: Unstable Weather on October
The shooting location was held on a lake side of Lake Motosu, one of Fuji Five Lakes at the bottom of Mt. Fuji, where we felt a bit chilly in the middle of October. We offered Ms. Yumi Adachi for a lead actress, whom the director Aida has worked with before. She was willing to admit the offer because she likes photography and has been surrounded by photos and cameras since she was a child actress. On day 1, we mainly filmed a scene of families of the past and also took prop photos for past used for insert cuts. It was sunny and we could nicely film happy family scenes. Mr. Aida often aims unique shots and this time he used a mini-jib or mini-crane for a scene with movement while achieving great framing, which added deep meaning to a story. However X-H1 is quite smaller and has dif-ferent operation system than other regular cinema cameras. Then we minimized crew size.
“I have never shot a film/drama with such a small camera and am honestly concerned that the camera could survived and go through…”
Even though Mr. Aida was saying that before shooting, his extensive experience so far and reliable crews who efficiently collaborated could let him acquire quality images one after another, which doesn’t differ from a regular drama/movie shooting.
In a forest scene, he shot a moving shot on a gimbal and slider. For a lens choice, he chose X series still lenses and MK lenses, which is a prototype converted to X-mount. MKX lens is announced at the same time as X-H1, and the internal structure for controlling internal lens correction is different than old MK lens, but the lens performance is almost the same. It attracts camera operators and crews by ease of use of the MK lens due to the operability for movie making and high quality image.
A series of professional tentions same as quality drama
Props such as photographs taken on the first day of shooting were processed aged and dirty deterioration by a production design team, who is sticking to professional quality to the details of work even for short term production.
On the second day after a day break, a lead actress Yumi Adachi appeared on set for her scene. This day was an only day when she was available for this shoot under her busy schedule. We had to complete all scenes that she acts in the only day. All crews on set were clearly more nervous than the first day because of either the appearance of the leading actress or the mission of ensuring all the schedule fit.
Although it was raining on that day, the scinario of script greatly matches the mood of lead character. During a test shooting of X-H1, we admitted the great soft texture of image (not crisp) of “ETERNA” holdibg highlight well, which is quite different from Classic Chrome and Log. We could see the significance and clearly different tone on a set monitor.
When we almost finished the all raining scenes, the rain stopped and sunlight started shining into the location. The weather became our friend as planned.
We nicely completed all DAY scenes, including numbers of shots, with very professional crews and moved to a cottage nearby. There we moved on a climax Interior NIGHT scenes.
Here is the climax scene that the lead’s emotions overflow at once. Yumi Adachi couldn’t spend almost any time to rehearse the scene even though regularly TV drama and motion pictures do rehearse before an actual shooting. It’s quite different than other dramas for actors and crews this time. Once the shooting started, Ms. Adachi did a perfect perfor-mance within a take or two and the camera team captured the moment without any mis-take. Everyone’s professionalism contributed to the tension that we had to shoot the cli-max successfully. Her best performance and cinematic tone from “ETERNA” were shown on a set monitor, which delivered the tension of all crews.
After a long silence, director Aida shouted,
“Cut! OK. Thank you for the all great job!”
Ms. Yumi Adachi and all crews were smiling, which tells the quality and expectation of the film.
On another later day during a post-production, we color-graded the film but kept most of natural tone of “ETERNA”. Also Kiyoshi Yoshikawa, well-known as a famous composer on many TV dramas and movies, wrote and recorded soundtrack for the film in the orchestra.
All photos are from the shooting of “A little part of me inside my photos”
PHOTOGRAPHER: Kozo TAKAHASHI（e Motion Photographers）
※The MKX lenses used on set are prototypes.
In the rain, Emi visits a lake where nobody’s around. She is a popular photographer in Tokyo and lives a fulfilling life before happy marriage. On the other hand, she could never forget trauma. The reason why she visits here is that she remembers pleasant memories with family lost in an accident several years ago. The memories lie under a passed twin old sister and myself who dreamed a life filled with hope for the future. A single picture taken in the past clearly revives its memory now.
Movie of “A little part of me inside my photos”
BTS of “A little part of me inside my photos”
Interview with Masahito AIDA (DP)
Interview with Yumi ADACHI (actoress)
STAFF ＆ CAST
Director and DP by
Father: Hiroaki FUKUI
Mother: Madoka MORI
Mika Child: Umi SHIMIZU
Emi Child: Sora SHIMIZU
Stunt Double: Nanako KUDO
Music by: Kiyoshi YOSHIKAWA
Story by: Nami SUGIHARA, Masahiro AIDA
Producer: Nami SUGIHARA, Yukihiro ISHKAWA, Tadao HIKITA
Assistant Producer: Minori MAEHARA
First Assistant Director: KOUMEI
Assistant Director: Yuko YAMAMOTO
Assistant Director: Kanta SASAGASE
Production Assistant: Yasuhiro BANNO
Best boy: Takahiro FUKUYA
Assistant Camera: Shou TAMURA
Gaffer: Yasuhiro MATUMURA
Electrician: Noriyuki GONDA
Electrician: Satoshi OOBA
Sound Engineer: Soutarou GESHIRO
Wardrobe: Kyouka SUGIMOTO, Yumi NAKAMURA
Make Up Artist: Kaori YOSHIMORI
CG Design: arunori TOEDA, Mayumi SAITO
CG Design: Eiko SUGASAWA
Title Design: Narunori TOEDA
Edit: Toshiro SYOUCHIKU
Edit Coodinater: Kazunari KURUS
Sound Designer: Hironobu SEINO
Subtitle Translation: Christian Storms
Behind The Scene: Kozo TAKAHASHI, Yosuke KINOSHITA
piace de shiata
Japan Cine Service
Kihu MORADO Business Division
TV Asahi Create