Stories

2016 is coming to an end and I'm taking a quick break in the UK after an intense year of TV projects. First, I delivered Tough Rides: Brazil, 6-part travel series for travel channel, then I edited episode one of The Desert Sea for NHNZ, and finally managed 6 months of weekly post-production deadlines for Canada: on the Road.

My trusty Pentax LX is with me on this trip, with a stunning Pentax 20mm f/2.8 and a Pentax 50mm f/1.2. The 50mm had one knock too many and was unfortunately put out of action after these shots. Film is Kodak Portra 400.

It's 2016. Film is supposed to be dead by now and a whole generation of filmmakers may never know what it's like to load a mag and check the gate.

I wanted to see if it was still feasible and economical to shoot a film on film. I also wanted to examine it as a serious aesthetic choice. Is it only useful as a nostalgia gimmick? Or is there something subjective you gain by losing objective clarity?

Shooting on film certainly requires more time and discipline. I was a solo loader/operator/focus puller on this shoot supported by a very efficient grip and lighting team. We needed a few 10-20 minute breaks while I loaded the mags but overall the process wasn't too different from shooting digitally.

I'm still undecided whether or not the look can justify the cost and inconvenience. But I can't deny the visceral joy of receiving my processed film weeks later and seeing the results.

Here's the short film, Venture.

This is mum and dad.

25 years ago they said goodbye to all of their friends, family and everything they knew and flew off to an alien country with one purpose: to secure a better future for their children.

Because of their courage and hard work, it's possible for me to live this fulfilling, creative life.

Cheers, parents. And thanks New Zealand for giving us a warm welcome.