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I know that underexposing is generally suggested but I have not ever followed that rule. I suspect that is because, when I use bleach bypass, I usually want that stretched highlight and/or deeper shadow. Otherwise, why use it?
Are you overthinking this. Plenty of times I have shot on location and made a scene out of two different locations. There is one in Hail Caesar! And I’m not telling you which one. An interior, with no problem with sunlight, should be quite straightforward. Same lens, same camera height, same soft side light and you are set.
The question is: Do you need to see what is outside the windows? It is a far more difficult job to create a dusk effect on location during the day, especially if the sun is out, and still see a view outside a window.
I remember using more than the practical lights, which I had chosen and had been built into the set, but I can’t remember what. Probably a simple bounced Tweenie.
I really don’t consciously think about ‘composition’ when I am composing. Not in any theoretical way, that is. Of course, you think about the lens you have on and whether the shot would be wider and closer or further away on a slightly longer lens. You lean your body to the right or left when your intuition tells you there may be something better from a slightly different angle, but its not like I am analyzing why I am doing that. I lean my body and use my eyes.
I am usually informed when a film is going to be remastered. Is it a good thing? Most definitely. Some of the original scans are very poor quality, besides which, there is nowadays a greater technical ability to match the image to the original intent.
I was being tongue in cheek about the calendar.
You could easily do a time lapse of the door. Fade out the night lighting to black and the time laps dawn rising on the door. Pretty simple and certainly cheap.
I was a great admirer of Pat Garret and Billy the Kid. I didn’t ever meet Coquillion as I was only just entering film school when Straw Dogs was being filmed. I remember all the gossip from that set as it was in the daily papers. Straw Dogs, for me, is Peckinpah’s worst film. That and Cross of Iron. I did get to know Dan Melnick quite well by the time I had shot two of his films.
Ah! That’s a question. I never did use a cherrypicker to fake the sunlight on Rev Road so this must have been the real thing.
Well, the choice is obviously motivated by the context but also is an instinctive choice on the day.
Time lapse would be cost effective. You could do a stop motion shot of dust covering a table or an object of some sort decaying. There is always the pages of a calendar flying by!
I would choose a window treatment, curtains or blinds, that let me silhouette a figure against them. Also, if a curtain, and it can be bunched up, I have even more control over what is seen. That is the same technique as I used for a night scene in ‘Empire of Light’. Otherwise, for you, its just a TV, which is fine but will not inform an audience as to the time of day.
