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Hello Mr. Deakins and all the people over this fantastic forum.
I hope you Mr. Deakins and Mrs. James are well, I really enjoyed the conversation with Greig Freiser on ‘ The Batman’, a lot of interesting pieces of information were discussed.
I would like to ask you, If it’s possible, a question that maybe was already answered in the old forum but I don’t remember to have read about it.
In ‘1917’ Church scene, have you got problems with flare causing the specular lights? If yes, how did you approach and solve the problem?I had a flare “issue” on a shot with a practical light in a kitchen, an under cabinet light (something like a small tube but more specular), and also if I tried to angle the practical to not be specular to the lens the issue was there. I ended up turning off that light.
Now, I was thinking about that kind of scene with a lot of par light in front of the lens and ask myself how to manage that “risk”.As always I want to thank you for your patience and availability. I would already have a lot of questions on ‘EOL’ 😁 by watching different trailers, some BTS, and your interview on BSC, but I don’t know if I can already ask or if it’s too early yet.
I hope to see a section in ‘Looking at lighting” because what I’ve seen is pure beauty. Just the idea that are you behind the camera, behind the light gives me emotions.I wish you a peaceful day.
Max.
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You can do few things to avoid a flare, this is not all but few ideas:
-use a mattebox
-tilt/pan/move the camera/change framing.
-A filter can exagerate the flare, remove it.
-dirt and grease on a lens or a filter can exagerate a flare too.
-some lenses do flare more than others. Better Lens coatings means better flare protection. Roger use a lot of new Arri Zeiss lenses. Those coatings fight a lot of flares for you.
-block the light hitting the lens, cinefoil is good for working at lamp level.
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If you have seen the images of that lighting rig we constructed for the ‘church’ in ‘1917’ you will note it was quite large. Although each of the Dinos, Maxis and Mini Brutes may have flared in the lens if they had been individual sources the fact that there was a mass of these lamps and that they were dimmed down to different levels lessened the problem. There were inevitably the odd lamp that was problematic, just because of its angle to the shot or because a few lamps did carry spot bulbs. If I saw a flare during a camera move I would dim the light or ask for a little more smoke at that particular point in the action.
Thank you very much as always for your answer Mr. Deakins! It’s always a big pleasure to read from you.
It’s so interesting the fact that due to the multiple single sources being so near to producing one big source, this can reduce the flare (that would be produced if it was a single source).
Also, the trick of the smoke (of course that was motivated by the “flames” on the church in the story) it’s very interesting and could be very helpful if I will have some of those issues in the future.Thank you again for your time and availability Mr. Deakins.
I wish you a peaceful day.
Max.Thank you for your reply Quijotesco!
In that situation, I had mattebox and no filter. I think it was basically a problem with the lens. It was a cine lens but not something like master primes and that range.
Unfortunately, I couldn’t move the camera cause was a sort of symmetric shot in a kitchen.
As I wrote, the result was that I ended up turning off the two practical sort of tube that was specular to the lens under the cabinets and used only the others on the side, and I was quite happy (I’m never totally happy 😅) with the result. Maybe when the feature will come out I can share a frame of that scenario.
Thank you again for your reply.
I wish you a great day!
Max.
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