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I wanted to feel express the bleakness of the sea front at night and in winter. The cold light is less ‘comfortable’ and contrasts with the apartment building towards which Hilary is walking. From a naturalistic point, these kinds of practical lights often emit different colors depending on the life of the bulbs and the type of bulbs used. Not so much with LEDs but in the 1980s, for sure.
I did use the same range of lenses for both Benicio’s character and Emily’s, yes. Ialso used similar length lenses for ‘TMWWT’, if a little wider.
I don’t remember saying that. I like using wide’ish lenses when I want to be close to a character and if the story is primarily from one character’s point of view, but by wide I am not generally talking about anything as wide as used in ‘Touch of Evil’, for example. Which was a great use of wide lenses BTW.
You could say ‘Sicario’ used two perspectives. I’m not sure why one character would see any differently than another but the movement of the camera and the lighting might differ.
As to using a wide lens in a story with only one character. Is that true? Some directors like to use wide lenses, as do some cinematographers but for a character point of view? I can’t see that.
Those are a lot of question and a full answer would make a book.
The reason using the bounce light for the Omori Restaurant scene in ‘Unbroken’ was to do with the restricted space I had outside the windows. A large bounce source with my lamps on stands below was a far more efficient alternative to using a grid of small lamps, which would create a similar soft source, and raising them up to the right angle.
Quality of light, aperture and cost – in that order.
I think the quote from Conrad was in reference to a specific use of a lamp at full spot.
The LEDs I used on ‘Empire’ were multi color so I could dim them and warm them up to get the same effect as I would do with a tungsten source.
A clear bulb gives a cleaner shadow. In a practical that might look ‘right’ or it might be ‘better’ with a frosted bulb.
I do very little in the DI, other than for ‘O Brother’ that is. And I don’t look at a histogram. The white is the white but, of course, looking at a dvd is not like looking at a cinema screen and, even if I have overseen the transfer, its not ever the same. I don’t remember my approach to ‘Elah’ being that different. Obviously, every story is different so it does not look like ‘No Country’ or ‘Prisoners’, two films that look diametrically different.
I would only use the 500 stock when I really needed to. I much preferred the lower speed stocks and used both the 100 and 200 Tungsten balanced emulsions. I rarely used the daylight emulsions as I felt they were a little saturated.
I would only set my meter to the rating suggested by Kodak. I would then under or overexpose depending on what effect I was after and where I wanted my exposure to lie relative to the range within the frame. But, either changing the rating or adjusting your exposure after taking a normal reading is basically doing the same thing. Overdeveloping is different. You can change the contrast by doing this, shift the colors and also add grain.
I was placed on the Graphic Design course without having a say in the matter. I wanted to be in Fine Arts and had no intention of being a designer but I did find a passion for photography, so it wasn’t all bad.
I was in the process of testing the Master Prime lenses and I did end up shoot most of the film with them.
I was in the process of testing the Master Prime lenses and I did end up shoot most of the film with them.
I was in the process of testing the Master Prime lenses and I did end up shoot most of the film with them.
The angle of the light to the light to the bounce can alter the size and the shape of the source you create. Whether a lamp is above and rigged to the ceiling or on the floor on a low boy or ‘turtle’ is usually just about space and convenience.
You can double the muslin but it doesn’t make so much difference. The light going through it could be a problem though, and bounce around to interfere with the contrast of the shot.
If I have a series of lamps bouncing off a wide reflector I may, repeat may, dim the lamps to the sides and also warm them up to create a softer fall off and a warmth reaching into the shadow area. I might do that but it is no means necessary.
Whether I gel a light and with what strength of gel in order to maintain color balance is a decision based on the script, the scene and the individual shot. Maybe, you would like the daylight to be blue’ish and the interior lights to be warm. Maybe not.
