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Hello Mr. Deakins and all the cinematographers here on this fantastic (new) forum. I really like the new forum but I’m also so sad if everything on the older one was lost, it was really a giant lighting encyclopedia to study every time 🙁
I hope you are well and enjoying your time. Is it true that you could come here to Italy for a Byways event? If it is so I will do everything I can to be there and see you live!
About 20 days ago I ended up shooting my first feature film (it was such an intense, powerful, inspiring, frustrating, and improving experience) and after some “relaxing” days is time to study again and learn.
Yesterday I was watching again “In Time” and studying some awesome patterns you created in the urban night scenes (it would be fantastic if you have some diagrams to publish in the “looking at lighting” section – I think this movie is so underrated as lighting).
I remember you said that movie did not have a big budget so you had to “embrace” existing sodium streetlamps and “boost” some areas with your own fixtures.
I think this is maybe more “difficult” to re-light an entire area because you have to create pools and shapes with something that you can’t manage at 100%.
I was studying, angle by angle, one of the first sequences where the “mom” ends her ‘time’.
I think it was a complex sequence for the number of angles and light patterns (did you shoot that sequence in one single night?).
I was so captured by the wide dutch angle (I attach the link to the frame below) with that big pool of light, it gives me a noirish look that blows my mind.
I was asking myself how to achieve that kind of light result. The light is “focused” on the center but has soft and saturated edges.
Following shadows on the floor of the ropes, building, and pole I could be thinking that you use more than one lamp (maybe projected through a big diffusion?) with different intensities to create the soft fall-off. Or maybe could have been Dino lights?
The second frame that I would like to ask you for insight into (attached link below), captured me not only for the pool that “wash” the subjects (that I think you had repositioned to “hit” them) but also for the light pattern on buildings into the background.
Did you use fresnel lamps? (maybe something like 5k?)
By chance are those that I see placed into the background on the floor, or did you project those from the roof of the building on the right?
I like to understand and analyze alone what’s going on, frame by frame (it helps me to learn better maybe), but I also think that I have a giant occasion and a big honor try to ask you “how” and most important “why”, and learn from your words.
This is priceless for me (but I think for all of us).
I want to thank you in advance for your patience and your time, I’d be hours and hours listening to you and asking questions but maybe you would kick me after 3 minutes LOL.
Apologies for my bad English.
I wish you a peaceful day.
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