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There is a balance between shooting only the shots you feel are right for a scene and allowing some flexibility in the edit. It annoys me when shots are used in the edit simply because they exist. But it also annoys me when a performance seems weak because there is a lack of a close shot or another angle. Sometimes an editor needs alternatives to build a performance.
I hesitate to recommend any particular camera. I use a Leica M9 because I like a simple camera but most professionals I know use other brands. Even zoom lenses!
Some expressions are conceptual, the banana taped to the wall or Oldenburg’s sculpture of everyday objects. Some things are spiritual, like the ponds in Stalker. And I’m not talking about god here, although you could take it that way if you want.
As David says, ganged lanterns have a higher profile than a ring light. I would say teh light from paper lanterns would be softer, and maybe not always in a good way. I often control a ring light by surrounding it with silver foil. Harder to do with an 18″ lantern.
I can’t say there is one specifically, no. Its usually teh other way around. I am trying for a deeper stop and more depth of field.
Cover the glasses with front projection material – the same as reflective material on a running jacket or safety gear etc.. A flashlight beside your camera will be more than enough.
I seem to remember it was just the torchlight coming off a bounce card. The bounce may have been a 1′ x 1′ soft silver, which would have made teh light a little more directional.
The tree definitely is a metaphor for ……
I’m not sure why you want to change what is there. I certainly wouldn’t consider reproducing the existing lighting with my own, no matter what budget I had. Is in not possible to turn off a single bank of lights if you want a little more contrast. If you are shooting from one side of the ring you could have less light coming from behind the camera.
I don’t believe an image or a look is created with a LUT. But i come from film and believe in shooting an image the way you want it to appear on the screen.
Always a difficult problem to solve, especially so when shooting on film. I have used small lighting rigs set above a window or bouncing off the ceiling near a window but it is never satisfying to do that kind of lighting. However, if the production will not spend the money on a set there is little else you can do.
Sam Peckinpah and Sergio Leone would have been better storytellers had they worked in 4:3?
Seems to me the same justifications, the format’s intrinsic intimacy etc., are used whatever the ratio is.
Besides that, the ‘best’ story tellers that I am familiar with are photojournalists, most of whom work in 3:2.
