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[Stip]

As long as shadow direction and falloff are approximately consistent, audience shouldn’t notice anything. Slight color temp variations are dealt with in post anyways.

One thing to consider is audio if there is a dialogue. The impulse response needs to be the same, or very close.

If audio does not match it will throw off the audience more than slight visual differences. Vice versa, if it sounds like recorded in one room, it will magically glue both shots together.

[Frank]

As you say, it really is about the trade-off with how quickly the highlights will clip and your ability to bring that information back in post if need be. At 200 ISO on the Alexa Classic I think you’ll have something like two stops fewer above middle grey than you would at 800 ISO? There’s also the practicality of shooting at lower sensitivity and how much light you’ll need to get an exposure. If I were shooting on a very controlled set where I could pump in as much light as needed, I was committing to a specific exposure with very little allowance in development because I was confident nothing would clip, and I wanted an extremely clean image, that’s when I would shoot at 200 ISO.

[leonardoferrari]

Anyway, in the given context, lighting from zero could be better for continuity, as there is no window available in both locations. You could light the characters in a way that implies a window exists in the room, even if it remains unseen. This way, you can establish the angle of the light and match it between shots.
But I’m just suggesting, I don’t know about the story or context!

[LucaM]

What a great news! Looking forward to read It! I just hope shipping to Italy won’t be too expensive (as usually Is, go figure now).

May i ask on what set the photo of the cover has been taken (if It was shot on set of course) ? To see if i guessed It, ah ah!

 

[James]

Reflections:On Cinematography is the book you’ve been asking for. Roger shares his journey from English country boy to the very different world of Hollywood and speaks in depth on the lighting of his many films. The book releases on November 11th but you can pre-order now.

PRE-ORDER HERE

If you have any problems with the pre-order, please let us know.

• This topic was modified 5 months, 2 weeks ago by James.

[campfirewood]

Just some observations and thoughts in general:

• Composition, composition, composition. Where is the focal point in the shot? WHY is it the focal point?
• On that, think of “master frames.” For example, in that first shot in which Bond walks down the hall and isn’t truly revealed until he steps into the beam of light, the focal image is that of Bond in darkness with only that sliver of light illuminating his face, and our gaze is drawn in hard to his eye – if you’re using the rule of thirds, Daniel Craig’s eye is at the top-left intersection of the imaginary grid. Plan for those moments – like pre-vis for screen shots, I you will.
• Lighting is going to be crucial, and I’d suggest being ready to flag a LOT for interiors where you want to set up those pools of light. Also: I like using Pro-Mist or Cinebloom style filters to create halation around lamps.

I know the original post is over a month old, so the point may be moot. I’d love to see the finished product, if that’s the case!

[campfirewood]

With Mann as a specific reference, I assume you’ve checked out Heat – if not, bump that to the top of your list. Style serves the story, and it basically establishes a lot of the grammar for a lot of the neo-noirs to follow.

Not exactly in the genre, but using an aesthetic that is pretty simpatico: Scorsese’s After Hours, which was his first collaboration with Michael Ballhaus (I think). Ballhaus has strong ties to the New German Cinema movement, too, which makes a nice connection to Wenders.

How did the shoot go, by the way?

[gx42]

If I may chime in, it feels like we would need more context to really weigh in on this. A few thoughts though in case it helps anyways. You mention they are both facing north, so if you are trying to use two locations to cut this dialogue scene then that wont have lighting continuity. If they are supposed to be facing each other talking, then one would face north and the other south,etc (but again maybe I need more context).

You could also consider only shooting into one corner of the room that has all the elements you want, with a 2 shot of both characters to establish they are together. Maybe don’t even go into close ups and keep the 2 shot. Or punch in really tight on each close-up, like just the eyes while they speak. That could be stylized.

You could also make it so that they are having a conversation on the phone. Then you can have 2 locations and not fight them to feel like the same room. Also a natural light shoot, indoors with no window sounds like a tough task!

Just throwing some ideas to think about, without having context of your story

[LucaM]

For my little project i will shoot (for practical reasons but also to shoot the scene almost entirely with natural light) two angles of the same scene in two different locations, that should represent 2 different walls of the same room (i considered every possible alternative, green screen included, but this is the only option that preserve the natural light in both shots). They both face (more or less) north and the direct sun won’t be visibile. I’ll shoot them one after the other so i hope the natural light won’t change a lot in a little time. By matching set decorations and planning the camera movements i should be able to make them look like two angles of the same room. The focal lenght and the aperture will be the same. Am i missing something? Any tips to make this thing easier will be greatly appreciated!

[Abraham]

Hello everyone,

Last month, we released an episode of the Team Deakins Podcast featuring production designer Nathan Crowley. Nathan’s long career includes a number of Christopher Nolan’s films, and he most recently worked on WICKED.

Feel free to discuss the episode with each other below!

[FriendlyEagle]

Here are a few examples of vids I’ve shot recently with the rig I’m working on – would love to hear your thoughts on anything you think I should improve. I’ve been working on getting the motion smooth and am going to now work on lighting.

The rig right now uses addressable RGBW LEDs in kindof a dome around the lens, but they’re just not bright enough to use smaller aperture I want so the edges aren’t so out of focus when its tilted, and the LEDs illuminate the opposite side of the fixture. I have some of that magic black acrylic on the way that somehow looks dark but allows light to shine through, which should help, especially with a honeycomb between the LEDs and the acrylic. In the 3rd vid where the coin is behind plastic you can see the reflection of the light strips. Most coins I do for clients or at shows will stay in their plastic so its crucial I fix that.

The other option I’m considering is adding another motor and putting a more powerful light on a big ~100mm bearing so it goes in a circle for the parts where the coin is still, but I’m having trouble deciding how to do the part where the coin tilts, because it always looks bad when it tilts away from the light, but having one light source better simulates what coin collectors do at their desk under their lamp with a coin in hand. It’s hard to balance simulating that and showing every flaw, making the video most useful to potential buyers vs making the coin look as glamorous as possible so coin sellers want my vids for their web stores and auctions.

I’m building a kiosk to make these vids at coin shows and am trying to make my workflow not require any post recording editing, though I am recording via HDMI capture and doing some things with OBS plugins. I’m also curious if anyone can guess the lens. I bought this lens without even being able to find a review of it online and was very pleasantly surprised with the quality for the price, as this is very much a low budget project until I can find some clients who want to send me coins or get the rig sturdy and professional enough looking to take to coin shows to do walk ups or eventually more like an automated kiosk or arcade game where the player can control the lights/motion for some time while its recording.

 

Test Footage “The Orbital Tower” 1972 Kennedy Half Dollar – YouTube

1976-S Silver Eisenhower Dollar DDO Doubled Die Obverse

Test Footage: Explorer (1956 Franklin Half Dollar)

https://www.youtube.com/@FriendlyEagle7

[JamesLahaise]

Hey!

I am in early stages of prep for an experimental music video where the director and I are keen to try a bleach bypass. Do you have any advice on how to expose 35mm film accounting for this development process? I’ve read online about under exposing 1 or 2 stops to control the increased contrast in the highlights and preventing them from becoming too blown out, but could the reverse not also be true as you get very constasty blacks with this process? We want rich and dense blacks so I’m thinking of only slgihtly under exposing to preserve some detail and control my highlights in my lighting plan to avoid them becoming too harsh.

Any tips or advice for exposing and utilising this development process would be greatly appreciated!

Thanks

James

 

[Corran Villalobos]

Hello Sir Roger,

The scene in Sicario of Emily Blunt in the bathroom following the house invasion stands out to me after every rewatch. Given your success with controlled practicals as your primary light source, I’m left wondering whether or not you used the bathroom fixtures exclusively or incorporated additional units here and there to augment them. How do you go about balancing the two in a suboptimal space ?

As always, thank you for your time, wisdom, and unwavering support

Best,
Corran

(reference stills wouldn’t upload. Here’s a link instead)

https://www.pinterest.com/pin/820640363389841142/

[Andrew C]

Hi everyone,

In terms of softness, putting a COB LED light like the 600d Pro through an 8×8 Magic Cloth, vs a Panel like an Aputure Nova through 8×8 1/4 Grid. I know output wise the COB will be brighter, but in terms of quality of the light, COB through thick diffusion vs Panel through thin diffusion, assuming they fill out the frames, what do people prefer?

Also, as a side note, would you ever go straight through a 4×4 diffusion frame with a hard light, or when sources are that small are you typically bouncing?

Thank you!

Andrew

[christianhawkins]

Hi Roger,

 

I’ve noticed that many filmmakers, especially in commercial work, use soft light with a softbox or diffusion frame, specifically with a grid on the diffusion to avoid spilling light to the sides and restrict it to only lighting the subject/direction of the subject.

However, when looking at your lighting setups and behind-the-scenes clips, you often bounce your light sources off muslin-draped walls or large bounce frames.

What is the reason or belief that leads you to bounce the light rather than using grids to control the direction of the light? Do you feel that using the grid creates an unnatural characteristic of the way the light spreads?

I’m not trying to get you to label one or the other as right or wrong. I’m just curious as to your method and reason for choosing to bounce over using diffusion with grids.

Do you feel that the grid changes the way that soft light should behave and would naturally spread out to the sides? Therefore, do you prefer the bounced look because it feels more natural? And when you do want to avoid spill in certain areas, you just flag the light where you want.

I feel that grids create a more stylistic-looking soft light as opposed to naturalistic, which might be why it is used in commercial work so much. In my experience in commercial work, I find that clients wish to control the way light behaves, such as making products “pop” out of the background. Basically, live photo editing and live power windowing. I feel grids are an easy fix to that situation, but sometimes, you can see a grid pattern in reflective surfaces.

I appreciate the ongoing sharing of your knowledge. Your website and the Team Deakins podcast with You and James are such a valuable asset to us filmmakers who are eager to learn.

Thank you for your time.

Best regards,

Christian