L'esperienza con l'ARRI TRINITY raccontata da un regista, da un direttore della fotografia e da un operatore di camera.
13/10/2021
Cosa ti ha convinto ad optare per TRINITY per questo film?
Negli anni ho usato stabilizzatori Movi e poi Ronin, stavolta ho scelto TRINITY perch viene incontro allesigenza di fare riprese lunghe di dialoghi con micromovimenti legati ai movimenti degli attori. Il TRINITY li favorisce e lascia limmagine pulita. raro che il movimento della macchina da presa non determini il movimento degli attori, ma io trovo che sia importante e TRINITY si colloca perfettamente in questottica, infatti ne auspico un uso pi massiccio. Dopodich ogni film unico. In questo caso lo strumento era perfetto, ma non si pu fare un ragionamento ideologico.
Copyright Foto di Francesco Catalano
Loperatore Emilio Giliberti sul set al lavoro con lARRI TRINITY.
A che esigenze rispondeva nel caso di Non ti pago ?
Il film si svolge in un solo ambiente in cui doveva essere possibile esplorare la realt in profondit . Col TRINITY ho pi libert nel posizionare la macchina da presa, che diventa un altro personaggio il cui sguardo si posa sulle scene. Nelle mie riprese cerco qualcosa che imiti il processo di conoscenza della realt , che non avviene mai nel momento preciso in cui la si incontra. Lagnizione arriva sempre con un attimo di anticipo o di ritardo.
Il direttore della fotografia di Non ti pago Agostino Vertucci, che aveva gi firmato le luci di Fortuna di Nicolangelo Gelormini e che, subito dopo ha utilizzato di nuovo il TRINITY per il film di Umberto Marino Un eroe piccolo piccolo .
Copyright Foto di Francesco Catalano
Il direttore della fotografia Agostino Vertucci (in primo piano) controlla una inquadratura attraverso il director's viewfinder.
Era la prima volta che lavoravi con il TRINITY, com andata?
N io n Edoardo avevamo mai lavorato con questo strumento e io lo avevo visto solo nelle demo: stata una scoperta constatare come si muovesse agevolmente nella nostra location, che aveva un ambiente molto grande e altri ambienti molto piccoli in cui dovevano muoversi tanti attori. Due settimane prima delle riprese abbiamo fatto dei test in location che ci hanno chiarito le idee, poi siamo partiti spediti.
Luso del TRINITY ha accompagnato lo stile visivo scelto a priori o lo ha in qualche modo anche determinato?
Inizialmente TRINITY ha accompagnato il progetto visivo di Edoardo poi, man mano che siamo entrati in confidenza con lo strumento, lo ha anche determinato. Ci siamo spinti oltre, abbiamo iniziato a chiedere sempre di pi , tant che abbiamo fatto diversi piani sequenza molto complessi che non avremmo potuto realizzare altrimenti. Uno partiva seguendo una donna di servizio che andava ad aprire la porta, partendo dalla cucina, attraversando un passetto, che era largo solo circa 65 centimetri, entrando nella sala principale e arrivando alla porta, per poi tornare indietro.
Attraversare il corridoio con quellagilit , con un altro strumento, sarebbe stato davvero molto complesso. Conoscevo il modo di girare di Edoardo con il Ronin, con uno stile molto dinamico, e so che ama le ottiche strette e stare molto vicino agli attori. Insieme abbiamo capito come adattare questo stile al TRINITY, che ci ha dato un'eleganza, una compostezza, una versatilit e pulizia maggiori.
Copyright Foto di Francesco Catalano
TRINITY in combinazione con un rig su misura.
Come hai gestito la continuit fotografica in una modalit di ripresa cos complessa?
Nelladattamento di Edoardo il film ambientato nel 1959 e per il look avevamo scelto di non essere troppo filologici per quel che riguarda la ricerca estetica, concedendoci delle licenze per personalizzarlo. Il nostro riferimento era stato Maria Antonietta di Sofia Coppola. La scenografia e i costumi avevano gi dato una palette molto varia che passava dai blu intensi ai gialli: con i costumi di Massimo Cantini Parrini e la scenografia di Carmine Guarino avevamo unottima base su cui lavorare. La cosa pi complessa era appunto gestire la continuit fotografica.
Quando Edoardo mi ha chiamato per propormi il film immaginavo una pi ce teatrale tutta in interni, poi ho capito che cera un forte rapporto con lesterno, perch i protagonisti uscivano spesso sul terrazzo per poi entrare in un laboratorio, una struttura tutta a vetri. In un film diviso in tre atti, in cui ogni atto raccontava un segmento temporale, la continuit fotografica doveva essere totale. Abbiamo quindi costruito una struttura che mi permetteva di far scorrere due diffusioni di intensit diverse che potevo gestire a seconda delle condizioni di luce esterne.
Quando abbiamo iniziato a girare, il sole non arrivava mai direttamente sul terrazzo, ma dai primi giorni di maggio ha iniziato ad arrivarci: la struttura che abbiamo creato mi permetteva di filtrarlo quando era necessario o riprodurlo quando era assente, grazie a una serie di proiettori ARRI M40 piazzati al di sopra delle americane, poich in quel periodo il cielo stato molto coperto.
Emilio Giliberti loperatore TRINITY che ha lavorato su Non ti pago . Annuncia: Lavoro con il TRINITY da circa 3 anni e su ogni tipologia di film mi permette di proporre inquadrature inedite .
Copyright Foto di Francesco Catalano
Emilio Giliberti ha utilizzato il TRINITY in numerosi progetti.
Come sei stato coinvolto in questa produzione?
Questo film stata una grande opportunit ! Sono stato contattato dalla produzione e ho conosciu
LINK: | https://www.arri.com/news-it/feedback-on-the-arri-trinity-from-a-direc... |
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