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<\/figure>\n\n\n\n\u201cI studied at\u00a0Narafi\u00a0film school in Brussels,\u201d begins\u00a0Vanouplines. \u201cThat was ten years ago now and we recently had a reunion. They teach directing, cinematography, editing, sound and production, so it\u2019s all elements together, but mainly focused on the technical aspects. It was the right choice for me because when I was eighteen years\u00a0old\u00a0I didn\u2019t know what I wanted to do in film, whether it was editing, cinematography, or in general something with images. At\u00a0Narafi\u00a0they also taught me the importance of collaboration. By taking on various roles in film production, I got to see what everyone else is doing on set. This experience helped\u00a0me\u00a0appreciate\u00a0what\u00a0others\u00a0bring\u00a0to\u00a0the\u00a0table\u00a0and\u00a0made\u00a0me better\u00a0in\u00a0my\u00a0own\u00a0role\u00a0as\u00a0a cinematographer. It also creates a sense of teamwork and respect among everyone involved. I strongly believe that those aspects are incredibly important on set.\u201d<\/p>\n\n\n\n Vanouplines\u00a0then worked for six months as a news camera operator, which consisted of shooting outside on location. \u201cI was on standby, so if I received a call from the journalist I had to leave immediately from where I was,\u201d says\u00a0Vanouplines. \u201cIt was all very run and gun, but I really enjoyed it. I knew from the beginning that I wanted to shoot more cinematographic visuals, but\u00a0definitely didn\u2019t\u00a0want to lose the shoots with a more documentary\u00a0approach.\u00a0I\u00a0was\u00a0told\u00a0many\u00a0DP\u2019s\u00a0start\u00a0in\u00a0the\u00a0news\u00a0industry\u00a0and\u00a0it\u2019s\u00a0a\u00a0goodplace to learn\u00a0quickly\u00a0because you get to go to so many different places and circumstances but you have to get it right on all technical levels, it\u2019s very good training. I\u2019ve always been\u00a0self-employed\u00a0and\u00a0I\u00a0saw\u00a0a\u00a0lot\u00a0of\u00a0people\u00a0shooting\u00a0on\u00a0DSLRs\u00a0by\u00a0then\u00a0as it\u00a0was\u00a0very\u00a0popular.\u00a0I\u00a0shot lots of social media videos for brands, in fashion and food. Those projects got bigger and bigger and I ended up working in commercials. From the smaller projects things got bigger and more professional and the crews got bigger. I really enjoyed that I could have my focus more on the overall image by working with gaffers and camera assistants. In the documentaries I shoot that isn\u2019t the case, a big crew is not necessary there. That\u2019s where I really enjoy shooting with a three-person crew, it allows us to be flexible, discover new places and momentarily become part of someone\u2019s life. Those experiences are incredible\u00a0enriching.\u201d<\/p>\n\n\n\n Having worked extensively in documentary and commercials, Vanouplines was looking for fiction projects when director Marco Bolla called about Au <\/em>Suivant<\/em>. \u201cMarco had heard from another DP that I was interested in shooting short films,\u201d adds Vanouplines. \u201cSo,that\u2019s how I got involved with the project. I read the script first and had an idea in mind about how the build-up would work. We would start fairly static, go over to panning shots and then go more and more handheld. I was on the same page as directors Marco Bolla and Jeanne Remi, which was nice.\u201d<\/p>\n\n\n\n Vanouplines\u00a0had\u00a0to\u00a0use\u00a0her\u00a0own\u00a0camera\u00a0equipment\u00a0to\u00a0shoot\u00a0the\u00a0film\u00a0due\u00a0to\u00a0the\u00a0almostnon- existent\u00a0budget.\u00a0\u201cI\u00a0shot\u00a0on the Arri Amira and the Zeiss Zoom 21-100mm lens,\u00a0as those are the ones I already have,\u201d says\u00a0Vanouplines. \u201cThis isn\u2019t my\u00a0favourite\u00a0lens because it doesn\u2019t have a specific look, but it\u2019s a great workhorse. The lens doesn\u2019t have an internal zoom motor. As we didn\u2019t have the budget for an external motor, I could only zoom in by turning the lens. There is one scene in the movie when Emma gets immersed in the role and gets\u00a0really\u00a0emotional\u00a0and\u00a0for\u00a0me\u00a0it\u00a0felt\u00a0like\u00a0I\u00a0need\u00a0to\u00a0zoom\u00a0in,\u00a0but\u00a0not\u00a0having\u00a0a\u00a0motor made\u00a0it\u00a0really challenging to capture this smoothly. It felt correct to zoom in at that moment, but I just did my best without the motor. As soon as Emma turns into the owl, there is lots of improvisation. We made a decoupage for the movie, but this scene was more run and gun. I love working that\u00a0way because of\u00a0my documentary background and Ireally like to move with the camera. It was not challenging; it was\u00a0really fun\u00a0to do this.\u201d<\/p>\n\n\n\n One\u00a0of\u00a0the\u00a0most\u00a0challenging\u00a0shots\u00a0to\u00a0capture\u00a0for\u00a0the\u00a0film\u00a0was\u00a0a\u00a0close-up\u00a0of\u00a0Casting Director, Jasmine\u00a0laying\u00a0on\u00a0the\u00a0floor.\u00a0\u201cThat\u00a0was\u00a0a\u00a0really\u00a0hard\u00a0shot\u00a0actually\u00a0because\u00a0the camera\u00a0is\u00a0just above her and it was just me holding the camera, as we didn\u2019t have any grip on set. The director didn\u2019t say cut immediately. I had been ill just before the shoot and for this\u00a0particular shot\u00a0I had to hold on for so long that I was\u00a0shaking.\u201d\u00a0<\/p>\n\n\n\n Vanouplines\u00a0decided to take advantage of any available light resource as there was very limited lighting gear. \u201cMarco and Jeanne had visited two locations without me during pre- production. One of the locations was very light and the other black and very dark without much natural light. They initially decided on\u00a0the\u00a0darker location for the film\u2019s setting. I told them\u00a0it\u00a0would\u00a0be\u00a0horrible\u00a0to\u00a0shoot\u00a0there\u00a0because\u00a0of\u00a0the\u00a0darkness\u00a0it\u00a0would\u00a0be\u00a0hard\u00a0tocapture a descent image. In my opinion selecting a brighter location created a sense ofunexpectedness for the story.\u00a0So,\u00a0I convinced them to choose this location. We had a lot of luck with natural light, as there were windows on both sides and almost no direct sunlight. The light above the scene existed of two led panels that\u00a0were\u00a0originally hanging there, and we could change the luminance of them by using the switch on the wall. We were really lucky with what was\u00a0there\u00a0and I could play around with it a little bit. I only used some black cloth, a black floppy flag and one\u00a0Aputure\u00a0P300C\u00a0led panel\u00a0to give it a bit\u00a0of\u00a0extra contrast. We were\u00a0lucky\u00a0to\u00a0be\u00a0able\u00a0to\u00a0shoot\u00a0the\u00a0film\u00a0continuously,\u00a0but\u00a0we didn\u2019t\u00a0have\u00a0much\u00a0control\u00a0overall. It was just using everything you know and getting the best out of what was available to us.\u00a0Trying to get a nice contrast and bright atmosphere with limited means, otherwise it would have\u00a0looked\u00a0cheap\u00a0and\u00a0wouldn\u2019t\u00a0have\u00a0been\u00a0veryclear.\u00a0The\u00a0room\u00a0was\u00a0quite\u00a0big,\u00a0so\u00a0camera movement wasn\u2019t a problem. The location could have been much worse.\u201d<\/p>\n\n\n\n Au\u00a0<\/em>Suivant<\/em>\u00a0was shot across one day, with a crew of three. \u201cThe directors had this idea to make multiple short films and shoot them every one of them across one day,\u201d explains\u00a0Vanouplines. \u201cThe script was also written in a way that it was possible to shoot with just two actors, one room and a small crew in one day. Everyone was\u00a0really clear\u00a0and on the same page\u00a0and\u00a0everything\u00a0was\u00a0really\u00a0nice.\u00a0Everything\u00a0went\u00a0as\u00a0we\u00a0had\u00a0foreseen\u00a0it.\u00a0It\u00a0was only\u00a0one day\u00a0of\u00a0course\u00a0and\u00a0it\u00a0could\u00a0have\u00a0been\u00a0much\u00a0different.\u00a0I\u00a0really\u00a0enjoyed\u00a0that\u00a0the directors\u00a0really knew what they were doing and had really thought about it. There were lots of opportunities to change small things and freedom to work as there weren\u2019t many lights or things in the way. As it was more of a documentary style approach it enabled that freedom which I really love. There were just three crew members and one of the actors was also one of the\u00a0directors.\u201d<\/p>\n\n\n\n In addition to\u00a0Au\u00a0<\/em>Suivant<\/em>,<\/em>\u00a0Vanouplines\u00a0shot\u00a0two short\u00a0films at\u00a0the beginning of\u00a0the year.\u201cIn the\u00a0summer,\u00a0I\u00a0will\u00a0be\u00a0shooting\u00a0together\u00a0with\u00a0Stefan\u00a0van\u00a0Diest\u00a0who\u00a0is\u00a0also\u00a0an\u00a0SBC member. We\u2019ll be shooting a professional fiction series in studio which will be on VRT and\u00a0Streamz.\u00a0<\/p>\n\n\n\n I\u2019m really looking forward to it as it\u2019s my first professional fiction project. Also airing now on VRT\u00a0Canvas\u00a0is\u00a0a\u00a0documentary\u00a0I\u00a0contributed\u00a0to\u00a0as\u00a0a\u00a0co-cinematographer.\u00a0The\u00a0series\u00a0iscalled\u00a0She They Us<\/em>\u00a0(Zijn<\/em>\u00a0Hen\u00a0<\/em>Wij<\/em>). It\u2019s a docuseries, consisting of five episodes about the hopeful fight for a future where everyone can be equal, a project that was not only professionally rewarding but also hit close to home personally,\u201d concludes\u00a0Vanouplines.<\/p>\n\n\n\n By Oliver Webb<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" Directed by Marco Bolla and Jeanne Remi,\u00a0Au\u00a0Suivant\u00a0follows ruthless casting director Jasmine as she auditions Emma, a young actor with a raw talent. Wanting to unleash her potential,\u00a0Jasmine\u00a0pushes\u00a0Emma\u00a0towards\u00a0her\u00a0breaking\u00a0point.\u00a0Ilona\u00a0Vanouplinesserved\u00a0as DP on the short\u00a0film. \u201cI studied at\u00a0Narafi\u00a0film school in Brussels,\u201d begins\u00a0Vanouplines. \u201cThat was ten years ago now and we recently had a reunion….<\/p>\n","protected":false},"author":4,"featured_media":13618,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rs_blank_template":"","rs_page_bg_color":"","slide_template_v7":"","footnotes":""},"categories":[42],"tags":[],"class_list":["post-13604","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-productions"],"_links":{"self":[{"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/posts\/13604","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=13604"}],"version-history":[{"count":4,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/posts\/13604\/revisions"}],"predecessor-version":[{"id":13624,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/posts\/13604\/revisions\/13624"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/media\/13618"}],"wp:attachment":[{"href":"https:\/\/www.sbcine.be\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13604"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=13604"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=13604"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"http:\/\/www.sbcine.be\/wp-content\/uploads\/\/2024\/06\/image00076-1200x675.jpeg\")
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