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[caiyichenweg]

Vasu wrote:

Thanks Master. I recently shot a scene where i lit my wides with lights through diffusion may be double diffused for soft light & shadows. For close ups & mid shots i did bounce through muslin. The softness & wrapping of light is very smooth in bounce but while cutting through wides i can clearly the variation in lighting & contrast. I Was not happy with my work. Can You share some insights for lighting up the wide shots through bounce lighting & still not losing the over all contrast. Thanks master.

I also really want to know the answer to this question! Master Roger! Do you still use bounce lighting in wide shots, but replace it with a harder transmission?

[viper_714]

Hello! I was wondering if there are any plans to bring a Reflections: On Cinematography book talk and signing event to New York City. I would be absolutely thrilled to attend—it would be such an honor to meet you and hear more about the work in person!

Best regards!

[Matthew_]

Thank you for taking the time – it really means a lot to be able to ask this here.

I don’t need or want to see what’s outside the windows. The main goal is to create the feeling of blue hour – that quiet moment just after sunset.

I’m mainly after the atmosphere – a soft, subtle glow in the windows. Not complete darkness, but definitely nothing too bright either. Just enough to suggest that there’s still a bit of ambient light outside – and that glow would come from the windows themselves.

But then comes the question of exposure inside the room. It’s going to be quite dark, and the idea is that only this ambient dusk light is lighting the space…

Do you think that could work naturally on camera, or would something need to be added or created to make it believable? I was considering maybe a very soft bounce off the ceiling to gently lift the exposure – but I’m afraid it might feel artificial or take away from the mood.

One thought I had was to use the windows in wide shots or wherever they’re visible in frame, as a way to backlight or separate the character from the background. Then, in shots where the window isn’t visible – like in close-ups – maybe I could push more light through it just to help exposure, without breaking the illusion.

[James]

Dick did some second unit shots on 1984. He was one of Roger’s best friends since the time that they started out. Dick shot the rats in 1917 and Roger had no idea that his phobia (his room 101!) was rats. Despite this, he got some great footage!

[James]

We will be in Toronto in June. We’ll be doing a Q&A after a screening of Shawshank, introducing another film chosen by Roger and doing a book signing of BYWAYS.

[Stip]

how can I make the windows glow – look soft and natural, not overexposed – while still having enough light inside to properly expose the scene?

You can also use haze to raise the shadow levels and have the windows ‘glow’.

[Roger Deakins]

It is true that a director, when watching my monitor, will not like to see anything outside the frame but, yes, I always like to see what is surrounding the frame. I usually have the area ND’d but never blacked out. It’s like keeping your other eye open when shooting a documentary. You need to know what is coming.

[Roger Deakins]

Yes, I have usually found the 800 ASA an advantage. But, regardless, I have always preferred to shoot with the full range of information and control my contrast with lighting. If you want to create an extreme image of the kind you suggest, and have no way to do that on set, I see no reason it can’t be done in the DI.

I did use bleach bypass when shooting film even with a digital finish. Perhaps adjusting the camera’s rating is similar to a bleach bypass, but I don’t see it making sense when you can so easily create the effect in post these days. Am I missing something?

[Roger Deakins]

Yes, I have usually found the 800 ASA an advantage. But, regardless, I have always preferred to shoot with the full range of information and control my contrast with lighting. If you want to create an extreme image of the kind you suggest, and have no way to do that on set, I see no reason it can’t be done in the DI.

I did use bleach bypass when shooting film even with a digital finish. Perhaps adjusting the camera’s rating is similar to a bleach bypass, but I don’t see it making sense when you can so easily create the effect in post these days. Am I missing something?

[Roger Deakins]

I know that underexposing is generally suggested but I have not ever followed that rule. I suspect that is because, when I use bleach bypass, I usually want that stretched highlight and/or deeper shadow. Otherwise, why use it?

[Roger Deakins]

Are you overthinking this. Plenty of times I have shot on location and made a scene out of two different locations. There is one in Hail Caesar! And I’m not telling you which one. An interior, with no problem with sunlight, should be quite straightforward. Same lens, same camera height, same soft side light and you are set.

[MNMike]

Great news! Cheers and looking forward to another stop in MN if your on the road again!

[gabj3]

See Looking at Lighting – Blade Runner 2049 – Sappers Farm.

From memory it was the equivalent of a light frost on the window. I’ve substituted in any slightly frosted plastic, you don’t want it to be too dense or it will absorb too much of the ingress light.

Then a white (or slightly off-white grey) backing, light this seperately and control any spill onto it. This will be your ‘back-drop’ but it can easily be a frame of any white/gray reflector.

Then above the axys of the AOV out of the window, place your room lighting. This can be a reflector above the outside of the window and above the AOV of the camera, for ease of rigging you can place lights on the ground pointing up into it (remember an ACUTE angle will always be inherently more efficient due to lamberts cosine law).

Note this isn’t supposed to be an exact recipe rather than a general guide for something I’ve tried a couple of times in the past. Diffuse the windows slightly, light your back-drop (can be white and hold it at a certain value) then light the room, a soft even source will light the diffuser on the window more evenly and produce a more even fall-off.

 

 

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Gabriel Devereux - Engineer

[Matthew_]

Hi everyone – and Mr. Deakins, if you’re reading,

I’m working on a scene where the character enters a rural house at dusk, just after sunset. He’s searching for something and eventually finds it. The only motivated light sources inside are supposed to be the windows.

The challenge is: how can I make the windows glow – look soft and natural, not overexposed – while still having enough light inside to properly expose the scene?

When the window is in frame, I don’t want it to feel too bright or blown out. But in close-ups, when the windows aren’t visible, how can I realistically light the character while maintaining the illusion that the light is still coming from those windows?

I’m aiming for a quiet, moody atmosphere – something between realism and slight stylization.

Any tips on how to approach this balance? Especially in a low-light, moody setting like this?

Thanks in advance!

[dmullenasc]

Skipping the bleach step leaves silver where there is color dye density, so if done to the negative, the highlights get denser (hotter) and if done to a print, the shadows get denser (darker).

So it is not unusual to underexpose by a stop when doing it to the negative to avoid too much overexposure in the highlights. Black level is a digital setting in digital color-correction. The only issue is how much shadow detail you want if you set black to zero.