lunes, 25 de mayo de 2020


The first of 13 feature-length documentaries of series STOP GLOBAL WARMING, entitled  "Spitsbergen, Guardian of the Arctic" is practically ready. Filming entirely in Super-8, with the entire range of Kodak emulsions (even some from the past, expired), it is a very personal project, in which I invested many hours.
For its film premiere, a couple of positives will be made in 16 mm and one in 35 mm.
The documentary will be broadcast by Televisión de Galicia (the main tv station in NW of Spain, in my region of Galicia), who asked me for a one and a half minute promotional trailer.
The voice is from the great Santiago Fernández, while the spectacular soundtrack is from the composer Sergio Moure de Oteyza. Postproduction was done with Alex López, and minifeaturette, pretrailer and teaser by the master Víctor Galdón.
My text in Spanish was translated to Galician by professor Santos Iglesias. The digital sofware for the postproduction was designed by Javier Suárez. Executive production and administrative works by Nena Pulido
SPITSBERGEN O GARDIÁN DO ÁRTICO, trailer para TVG from IB CINEMA Motion Picture Films on Vimeo.
Despite this trailer is in Galician languaje only, it was seen for more than 7.000 spectators during the first week-end, so, a total of more than 100.000 for this project if we include the making-of and the others 3 promotionals (in Spanish).

Some commentaries published in the international Super 8mm group in Facebook (more than 7000 members!, link: ) are from very well admired ciné people,  like the German filmaker Patrick Müller  ("So beautiful. But I never understood why you don't offer optional subtitles. It is so easy to create them in Final Cut pro X and to export them to Vimeo. People outside of Spain could finally understand what you want to tell us concerning global warming etc")  or the American Phil Vigeant ("Fantastic Images . The new Jacques Cousteau").

"Spitsbergen, Guardian of the Arctic" is the first of a series of 13 70 to 80  minutes documentaries about global warming; all the features will be shot in Super-8, and distribuited in 4K for television, and blow up to 16 mm and even 35 mm for the non theatrical market. 
The idea came after the publication of an UN report, based on 6.000 sources, which reveals that humans have only  twelve years to take action against catastrophic climate change: during these 12 years I will shoot 13 documentaries in different parts of the planet, including Antarctica and Tibet.

According to the UN, the Arctic is one of the thermometers of the health of the planet, and the average temperature thre has risen three degrees Celsius in the last 40 years. Therefore, the first of the documentaries in this series, entitled "Spitsbergen: Guardian of the Arctic",  was shot in the archipelago of Svalbard, fully filmed with the entire range of Kodak emulsions: Vision 50 exposed to 40, Vision 200 exposed to 125, Vision 500 exposed to 400, Vision 500 exposed to 50 and pull-processed tow stops, Kodad Tri X,  Kodak Ektachrome 7294, outdated Kodak Ektachrome 7280 and even 4227!!!
One of the technical purposes of this shoot was to check a pre-production run of Kodak Ektachome 7294 in adverse conditions. Among the technical challenges of "Spitsberben: Guardian of the Arctic" were: 1) shooting with Super-8 film during a snow storm at -20 degrees Celsius; 2) filming the frozen arctic in a drone; and 3) even under the Arctic see ice with the underwater camera Eumig Nautica. 
All the test were successfully passed, as I reported in Photoklassik International and Silvergrain Classics magazines.  The new Ektachrome7294 runs smoothly inside the cartridge even at -20 degrees Celsius. Its latitude of almost three stops (compared to only half a stop with old 7285) was a very useful discovery for difficult lighting conditions, such as when the sun peeked over the snow. The Ektachrome 7294 has a brigh future in the field of television documentaries, especially with special scans, like the one developed in Hollywood by Pro 8mm  (see here:  ), 
which is able to digitally reproduce the glorious chromatic richness of colour reversal film. 

Of course, "Spitsbergen: Guardian of the Arctic" will be distribuited in DCP, but the blow ups to 16 mm (in Italy) or 35 mm (in England), will allow viewers to appreciate the splendor of the photochemical image: there is no more beautiful experience than watching a film form a real projection.

Another milestone of this documentary is that much of the Tri X film was processed on board the historic icebreaker "Malmö", first launched in 1943, in the most ecological way possible: with beer! (Estrella Galicia brand). Beer processing produces images with much more richness of grays than those obtained with coffee. Processing part of the footage on location was very important because, in such extreme weather conditions, it allowed me to check the cameras were working properly. 
Except for the beer, completely Teutonic technology was used: in addition to the Austrian Eumig, I also had the German Bauer A512 Egido. 
Making of can be watched (in Spanish) here (brands are not cited in the documentary):

SPITSBERGEN: MAKING... IN PROGRESS! from IB CINEMA Motion Picture Films on Vimeo.

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