5 minute read

Where Art and Story Meet

Anna Andersen and Nilu Amin of Nina Films paint a truthful picture of the renowned Oliphant family – exacted in perfect detail with FUJIFILM X-H2

Art soars or plummets by incremental margins. With each stroke of the brush, selection of note, or movement of the camera, a definitive path is pursued. Canvases are repainted, melodies rearranged, and films recut – but eventually, the artist lays down the tools and bares their creation to the world. It’s a fascinating process, exaggerated still when mediums and interests are intertwined.

Take a documentary which follows an acclaimed pair of painters, for example. How does one depict an artist with a legacy spanning three decades, alongside her daughter-protégé? Those who have chosen to shape Sarah Oliphant and Violet Oliphant O’Neill’s story previously have tended to delve into professional undertakings. Afterall, the pair are, perhaps, the most renowned backdrop artists ever to have held a brush. Their skilfully-created canvases have been seen by countless eyes, often unknowingly. Used by fashion icons from Prada to Balenciaga, featured in publications such as Rolling Stone and Vanity Fair, and photographed by the likes of Annie Leibovitz and Martin Schoeller, their work is as eclectic as it is moving.

For director Anna Andersen and cinematographer Nilu Amin, the answer to the depiction conundrum was simple: approach from a perspective of love and deep interest.

“Violet is one of my best friends,” Anna states. “I’ve known her since I moved to New York. We met through a mutual friend, who connected us as photographer and participant. It’s always been my goal to humanize women in front of the camera and tell complicated female stories. There was an immediate sense of friendship. I got to know Violet’s mother, Sarah, throughout the six years since. They’ve built such a beautiful community together at the studio.”

For Nilu, a sense of distance provided scope enough to view the astounding story before them.

“I didn’t know Violet well and didn’t know Sarah at all,” she notes. “Violet always struck me as such an interesting, dynamic personality. I also knew that she works with her mom, and who her mom is. It seemed like a great story to tell.”

Young woman removing shoes by ocean shore at dusk

The Promise of Spring 2022 © Anna Andersen & Nilu Amin | FUJIFILM X-H2

“Because I consider Violet and Sarah friends first, their identity as artists is secondary to me – although I do know how prolific they are,” Anna continues. “I think their work not being my focus really helped. It was about creating an intimate and comfortable space to present them as people. That allowed us to document scenes that would have been hard otherwise. We’re getting to see Violet and Sarah in their natural element. They bicker, they laugh, they share moments. It’s a very beautiful mother-daughter relationship.”

Just like the Oliphants’ process , intention and execution were inextricably linked for Anna and Nilu. A desire to showcase the unique nature of each artist was maintained through a number of nuanced cinematography elements.

“They’re both so energetic, so there’s a lot of force behind them,” Anna explains. “Violet is still evolving, where Sarah has found her footing. We reflected that by staying handheld with Violet and using a steady rig for Sarah. They’re also each presented with slightly different color accentuation, but it’s all pretty seamless – almost subconscious.”

“We wanted to maintain continuity between past and present,” Nilu adds. “You’ll see and feel that between our images and some of the archival footage – real, amazing film of Sarah when she was younger. We worked with a very talented grading artist, who brought that out with colors and subtle grain.”

Older woman artist painting huge canvas on floor of studio

The Promise of Spring 2022 © Anna Andersen & Nilu Amin | FUJIFILM X-H2

While the concept was born well over a year before production began, wheels were only set in motion when a fortuitous opportunity to create with FUJIFILM X-H2 arose. Without it, the film would never have been completed to such a standard, says Anna. Dedicated to a life of storytelling from behind the lens, it was an experience Nilu relished.

“We had a lot of scenes to pack into a few short days,” she recalls. “Having a small, nimble rig allowed us to move fast, and even fit into spaces that otherwise would have been extremely challenging. We filmed out of a car window and in a small apartment. We couldn’t have done a lot of that with a larger camera.

“On the opposite end of the spectrum, in the Oliphant Studio, X-H2’s 8K capabilities allowed us to highlight finer details, like the texture of the paint and brush strokes, that wouldn’t have been quite so beautiful on screen otherwise.”

Woman holding camera on cinema steady rig while second woman consults

Photo 2022 © John P Haggerty | FUJIFILM X-H2S and XF16-55mmF2.8 R LM WR, 1/1250 sec at F2.8, ISO 2000

“Working at speed on set, the camera’s additional flexibility is super handy,” Anna picks up, noting an altogether different benefit of the massive 8K resolution. “Going through scenes in post, there were certain moments where I said, ‘this footage would be great if we could zoom 200%’, and we could!

“F-Log2 is another great addition to the camera,” she continues. “I love a very flat profile and the new option has even more dynamic range than ever. Seeing the difference between the more basic LUT and what our fantastic colorists have been able to achieve – notably because they had so much flexibility across the highlights, colors, and lowlights – is amazing. It’s really allowed the film to come to life in the exact way I had hoped.”

A distinct visual language was well-established, but with such complex subject matter, a shift in focus seemed inevitable. More time with their subjects revealed even greater nuance, and undoubtedly compelling story elements which demanded documentation. Anna recounts the journey.

“We started out with an idea to focus simply on Sarah’s possible passing of the business to Violet and her other daughter, Mun. Our interest shifted over production to be more about Sarah’s legacy of kindness, and her handing down a way of moving through the world – as a person more so than an artist.

“The question of whether Violet would take over Oliphant Studio always remained, in some form. There’s a beautiful sentiment from Sarah in the film, where she acknowledges that there have been figurative Oliphant & Sons for millions of years, so she loves that it’s Oliphant & Daughters. But Violet isn’t sure she wants it. We eventually realized the crux of the film is unearthing your own creative identity. It’s about generational lessons, and the need to forge a creative path voice, even against insurmountable odds. How do we carve out our own space as creatives?”

Older woman and adult daughter studying huge shelf of art supplies in studio

The Promise of Spring 2022 © Anna Andersen & Nilu Amin | FUJIFILM X-H2

“I recently saw a cut and it’s exciting. I’m so proud of it,” Nilu effuses.

“For me, the biggest mark of success is if Violet and Sarah like it. At the end of the day, it’s a love letter to both of them,” Anna concludes. “Watching the film, I think you can feel the love that comes through in their story – their love for each other, and for the work they do.”

FUJIFILM X-H2 is coming soon to your nearest FUJIFILM Authorized Dealer. Learn more and read the full specifications here.

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