Hovis presented a lovely opportunity to play with the films texture and to create a 1970’s look, as most of the story follows a young girl’s mischievous exploits during this period. I discovered a lovely set of old lenses that presented some challenges technically, but contributed to the ‘look’ considerably.
As always with Vince Squib finding locations was a crucial part of the process and production designer Brain Morris did a fantastic job to adapt what was available. We shot 16mm to add grain and make the film reminiscent of the beautiful film stocks of the past. In addition I ‘pulled’ the film in processing to lower the contrast. Finally we produced two photochemical prints on different print stocks, a low contrast print on Fuji and a standard one on Kodak Vision. We took these into the Baselight and did some minor adjustments digitally; the final result was a combination of the two prints. The rest was achieved in the lighting, naturalism being the objective; the process however involved a considerable amount of work.