Director Marc Wilkins, who’s repped in the U.S. by bicoastal Rabbit, captures a slice of Kiev nightlife frozen in time in the sultry and atmospheric new 2:20 “Shake,” for the Ukrainian alcoholic beverage of the same name, produced direct-to-client by Radioaktive Films, Kiev.
“Shake” brings the same ‘time-slice’ film technique used in the now-famed Philips “Carousel” to a swinging night out on the town.
Said Wilkins, “The solution is actually a “fake time-slice,” where people pretend to freeze–standing still on set–and the camera moves through frozen time. As a fan of unusual storytelling, I was excited to experiment with this approach myself.”
The spot consists of a single shot, opening on a statuesque model frozen in a pose on a city street. As the camera pulls back, we see the scene around her: a crowd of club-goers and a doorman opening the velvet ropes for her, all frozen completely still. The camera continues to move inside the nightclub as techno music throbs, passing more motionless beautiful people, picking up the same model again later on in the evening, locked in mid-stride away from the bar carrying a bottle of Shake.
Continuing to move through the club, where drinks are frozen mid-pour and revelers’ hair is suspended mid-dance, the camera picks up the model again. On the dance floor, we see a well-dressed, handsome man in the midst of reaching out to her. The camera continues to push past her, once again maneuvering through the clubscape of statue-like partiers. The camera’s serpentine movement through the club continues to pick up the model and her new boyfriend at intervals throughout the night: taking over the DJ booth, spraying champagne and, finally, locked in a steamy embrace. The two minute-plus camera move continues across the floor before picking up the couple one last time–this time, she is frozen in mid-motion again as she leads the handsome stranger by the hand towards the exit, where the dawning sunlight pours through the open door. In her boyfriend’s hand are two bottles of Shake.
To create the seamless camera move, Wilkins used six different Steadicam shots, shooting at 50fps with the ARRI Alexa. “Shooting at 50fps helped the actors maintain their frozen pose, but also forced us to move the Steadicam even faster. In post, we didn’t have the time or budget for a lot of VFX, so we had to do as much as possible in-camera. This adds a level of realism that I’m really proud of,” said Wilkins.
“Shake” is currently airing in the Ukraine.
“Se7en” Turns 30, Gets A Special Restoration From David Fincher For Its Re-Release
For David Fincher, seeing “Se7en” in 4K was an experience he can only describe as harrowing. That or a high school reunion.
“There are definitely moments that you go, ‘What was I thinking?’ Or ‘Why did I let this person have that hairdo’?” Fincher said in a recent interview with The Associated Press.
He’s OK with the film being a product of its time in most respects. But some things just could not stand in high-definition resolution.
“It was a little decrepit, to be honest,” said Fincher. “We needed to resuscitate it. There are things you can see in 4K HDR that you cannot see on a film print.”
Ever the perfectionist, he and a team got to work on a new restoration of the film for its 30th anniversary re-release. This weekend the restored “Se7en” will play on IMAX screens for the first time in the U.S. and Canada, and on Jan. 7, the 4K UHD home video version will be available as well.
The dark crime thriller written by Andrew Kevin Walker and starring Brad Pitt and Morgan Freeman as a pair of detectives looking for a serial killer was somewhat of a career-reviver for Fincher, whose directorial debut “Alien 3” had not gone well. “Se7en” was not a sure thing: It was made for only $34 million (and only got that when Fincher managed to persuade studio execs to give up $3 million more). But it went on to earn more than $327 million, not accounting for inflation, and continues to influence the genre.
Fincher has over the years overseen several restorations of the film (including one for laser disc) but decided this needed to be the last. It’s why he insisted on an 8K scan that they could derive the 4K from. He wanted to ensure that it wouldn’t have to be repeated when screens get more... Read More