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Thank you very much for your reply Mr. Deakins.
So for sure at this point, it’s a slight shift due to the YouTube “compression” that boosts a bit the green tonality in the highlight more than the “normal”.
As you said, it is one green or the other one magenta? 😁 it’s a fine line.
Thank you again for your reply and your kindness as usual.
I wish you a peaceful day,
Max.Hello Luca,
If you double the amount of light (lux/fc) you will obtain a stop of increment in your light measurement so you have to “compensate” with your “triangle” or nd.
But I waiting for an answer of DP’s more expert than me.
Have a nice weekend.
Max.
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.
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.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.Thank you so much for your reply Mr. Deakins, reading from you is priceless for me!
The mood and the colors of the scene are outstanding. I love also the fact that ‘Hilary’ is sitting against the blue window, while ‘Stephen’ is against the yellow one, this reflects to me pretty well the two characters.If I can ask and if you remember, which focal lengths did you use for this scene, and what was your consideration for that kind of choice in terms of camera proximity to the actors etc..
I know I’m asking a lot of questions, but reading your experience and your point of view about lighting and filmmaking is a unique experience.
I wish you a peaceful day,
Max.Thank you very much for your reply Mr Deakins! It’s always fantastic to read from you.
It’s also very interesting to know and discover your thoughts behind a lighting choice. Although your thought was that the area could appear more like a “work space”, I think this kind of “contrast” with the lobby makes that area appear more “intimate” and something like “behind the scenes” of the main act.In terms of lighting fixtures, do you project light above the “white glasses” of the diffusers above the ceiling or those are real fixtures (maybe led asteras etc.), the light seems to me controlled and just a bit “directional” but maintaining the soft texture. Maybe a real ceiling fixture could spill light more around the room and less toward the floor hitting the walls (and maybe if the ceiling is low the light fall-off would be stronger)?
Outside the windows, which kind of light did you use to bounce the white wall? Did you however still want to “emulate” the daylight?
I apologize for all these further questions, just my curiosity that pushes me to learn from you.
As always I want to thank you for your availability and for your kindness.
Your words are a big resource for all of us.Have a peaceful day,
Max.
