Empire of Light – Cafè scenes

[Max A.]

Hello Mr. Deakins and all the cinematographers on this fantastic forum. First of all, I hope you Mr. Deakins, and Mrs. James are doing well.
I would like to ask, other questions about ‘Empire of Light’, and in this post specifically, regarding the two “Cafè” scenes (I attack stills in some replies because seems I can’t upload more than 2 images per post).

In the first scene, there is a ‘table dialogue’ between ‘Stephen’ and ‘Neil’.
The placement of the table is against big windows/doors (as for the next scene) and outside seems to be an overcast day so without direct sun with an even soft light. Your light and color choice implies warm light inside that fills shadows “due” to the practical lights that establish the tones inside.
The scene on screen has 4 shots, two wide and two OTS. Can I ask you how did you light this scene?
It seems to me that over the table there is light that fills the shadows and that is quite soft, is that spherical practical light that was reflected on the glass behind “Neil” or did you use something else to “argument” that overhead light?
For the OTSs, do you use a bounce from outside to soften and direct the light over your subjects? And for those shots did you add or change the position of the overhead light inside to “better” light the two characters?
The tricky part could be the reflections of ‘Neil’s’ glasses that reflect only the windows/doors (and not bounce material and light from outside) making the shot so natural but beautifully lit.

As I wrote before, I attach stills from this scene and make a reply on the topic for the second scene in the other Cafè.

I apologize for my bad English.

Topic

[Max A.]

[Max A.]

[Max A.]

The second Cafè scene has a table dialogue between ‘Hilary’ and ‘Stephen’. Also in this scene, the placement of the table is against big windows with a shape (which seems like the top part of a pentagon) that “wraps all the subjects in the frame” with an overcast day and seems to me, without other lights inside the room.
For the wide shot, did you use lamps from outside (the side windows out of frame) to bring in more light or it is just the natural indirect light that comes from outside?
For close-ups (OTSs and MCUs) did you use bounce lights from outside or some bounce material without lights from inside to wrap more of the faces?

Both Cafè scenes have a natural feel that makes “invisible” your “intervention” and this is the most difficult part I think.
Sometimes I feel that just a single small light (direct or indirect) can destroy the natural feel of a scene and appear “present” and of course “unnatural” and for this reason, I just would like to ask you (and maybe learn a lesson) how you approached these two scenes in terms of light in order result “invisible” to the audience.

As always I want to thank you for your time and your availability Mr. Deakins. Reading from you and from your experience is priceless.

I wish you a peaceful day,
Max.

[Max A.]

[Max A.]

[Roger Deakins]

I did use a single white bounce outside the windows for both of the scenes. I also had a solid to cut some light as well. I was only using the bounce for the shots on Michael. Inside the first cafe I used two LEDs bouncing off the ceiling to either side of the wide shot. These were set to a tungsten balance to give some warmth to the shadows. I did not use them for the closer coverage.

[Max A.]

Thank you so much for your reply Mr. Deakins. It is always fantastic to read your answers!
If I can ask some more questions, did you have the solid inside the two cafés as a negative fill or did you use solids outside the cafés and outside frames to control the light that comes inside?
For the “first” café scene, your two LEDs bounced off the ceiling are pointed over the table, or were just pointed up “straight” to the ceiling at either side of the table? In the close-ups, that warm “fill” that is in the shadows comes from the practical overhead light (the spheric one) that is in the Cafè? It was part of the location or it was your choice with production design to have an “omnidirectional” light there?

I love the natural feel of the whole movie but with beauty and elegance that always sets you apart.

Thank you so much again for your reply Mr. Deakins and I wish you a peaceful weekend,
Max.

[Roger Deakins]

The solids were outside the window. The LED was bounced to the side of the shot and not directly overhead, which would not have reached so far into the face.

[Max A.]

Thank you so much for your reply and clarification Mr. Deakins.  As usual thank you again for your time, your patience, and your availability to share your experiences and knowledge. It is fantastic.

I wish you a peaceful Sunday,

Max.

[Author]

Replies