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I still use a meter to judge my exposure, even with a calibrated monitor. I use a Gossen Luna Pro, usually with the invercone and in incident mode. For the shot your reference I would have stood where the actors are and pointed my meter towards the camera.
I would use some gel, just as David suggested. You could always get a swatch of small leaves of gel than match an LED to the color you prefer. Its either that or match a full color LED to a mercury vapor fixture.
I seem to remember we used the pan to emphasize the passage of time or simply make a softer cut between scenes. Who’s idea? Probably one each. We discussed the script and our shooting pattern well in advance and these kind of languid pans seemed right for the piece. Of course, most were lost in the cut.
Yes, that was a long time ago. I laugh at this scene because we had tented the whole house, so that I had room for lamps outside, but by the time we came to shoot it was dark outside.
The bounce source was an unbleached muslin and I suspect the lamps was attached to the ceiling. Otherwise, as you say, the light would have been too close. The hard light was supposed to mimic a street lamp. Just a 650 with a half blue gel on it.
The rain? Yes, the rain felt like it mirrored the sadness of the scene. ‘In Cold Blood’ did it so much better.
I do prefer my still photos in B&W. Sometimes I use a color camera and sometimes a monochrome camera. I wouldn’t say I am looking at the light differently either way. Something just seems worthy of a photograph or it doesn’t.
So many great photographers. Some seem more interested in the light and composition than making a comment on society, others are all about the subject. Bill Brandt took images that varied wildly from one to another.
The photographers that inspire me are usually those that reveal something of themselves. You see their personality in their images.
I think you have to get in touch with your own emotions. Get a lamp and play with light, or go out and take some stills. What affects you?
1. The script and the director’s thoughts regarding the script. From that I use my imagination. It’s imagination, exploration and collaboration. After that come all the practical issues you have to take into account when you point a camera.
2. The lens informs the audience where they are in relationship to the subject. I don’t know how the choice of the lens could be considered unimportant! Just take a photograph of a face on a variety of lenses! It should be clear why its important.
3. I’m inspired by everything I experience. What helps? More experiencing!
I have worked with effects teams that use a densitometer. That is really accurate but I would still adjust the level by eye. The issue being smoke in a backlight looks heavier than in a side light!
All of them! Le Samurai, Circle Rouge, Army of Shadows. Duxieme Souffle is probably the best heist movie ever made. Army of Shadows the most realistic film about the French resistance. You could start with The Silence of the Ocean. B&W. Basically shot in one room with three characters. I think it was Melville’s first film. A Masterpiece.
We always referred to lens lengths and precise compositions on the animated film we were involved with. But, as always, its a collaboration with a great many people.
Camera capture was only used on specific scenes or, as with Rango, to explore a set. For the Croods, we were looking at how a hand held camera would feel. I’ve only experienced it in limited situations rather than an entire film.
The film is definitely stunning! I’m certainly not denying that. Technology and tastes change, which is a pity because there is a place from different ‘looks’, On Lawrence, it was the style to see into the shadows.
YouTube video? That may be from a test, I haven’t seen it. The lamps are spaced so that any multiple shadow is inconsequential. If you were to look at the lighting on a white sheet of paper, you would definitely see a shadow for every single lamp. If I was lighting a white sheet of paper I would use diffusion or have the lamps even closer together. On a face the shadows don’t register and if there is movement….
I use fresnel lamps, as on Lebowski, O Brother, Jarhead, or True Grit, so the light is confined to a single area but still appears as one soft source in that area. On True Grit, for the night scenes, the lamps were 5 – 7 feet apart, but looking from 1,000 feet, that’s not a great distance. If I had done the same on BR2049, at 20 feet it would have looked ridiculous.
