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Feature Film

Signature Work

Believing that his model is in trouble, a retired engineer, now an amateur painter, hires a private detective to...

“Believing that his model is in trouble, a retired engineer, now an amateur painter, hires a private detective to find her. The reason for her "disappearance" is so she can start anew with her boyfriend, who has been released from prison. He will steal unsigned paintings from the painter's studio, have his girlfriend sign them and profit from the eventual sale. The morning after the robbery, the painter is found dead. Oblivious that the true artist is dead, the art world becomes infatuated.”

Lens/Camera Information
Lens series: S4/i
Focus lengths: 32mm
Camera: Sony S7 camera with PL mount
Original Aspect Ratio: 1:2.39
Format: Digital
Rental Company:  CinePlanet

DOP Information
Director of Photography:  Predrag Bambic SAS

Production Information
Production: Signature Work
Producer: Bez Ocko & Ilija Labalo
Director: Dejan Vlaisavljevic
Colourist: Vladan Obradovic
Production Company:  Remaining Light

DOP Predrag Bambic on his format and lens choice:
““Signature Work”, directed by visual artist Dejan Vlaisavljevic Nikt, is a twisted replica to 1945. Fritz Lang’s “Scarlet street” transposed to modern Belgrade. Therefore it required a radical visual treatment at the same time maintaining echo of the spirit and resemblance of the original film noir model, distorted by 70 years of of viewer’s experience and different visual elements and applied in different cultural context.

I decided not to go to the way of completely depriving the picture of it’s chromatic value and making it black and white although it would enable instant identification of the “film noir-ish” sense, but to go with somewhat reduced color palette.
For my view of the concept of enhancing of the archetypical solitude of the film noir leading character – private detective – I used widescreen 1:2.39 format canvas which, in my sense, enhances the solitude, but being that I am not a particular fan of the distortions unambiguous to aspheric optics – oval bokeh of the highlights – I decided to use spherical lens.
I also chose to constrain my lens palette and force myself to block the scene by physical limits of one lens, to give it a sense of tightness and claustrophobia.

My choice of the lens was the key for the desired film texture. I chose 32mm Cooke S4 that gave me the right tool to stay in the right epoch experience and, at the same time, characteristics of the modern designed lens for contemporary Belgrade scenes, creating the bridge over the time passed between two films and two ‘zeitgeists’.”