1917 - EXT. Scene after Mines Sequence (1 reply and 1 comment)
In the behind-the-scenes featurette you guys already talked about unexpected cloud activity, and... waiting/rehearsing.
I was wondering how you maintained continuity with the lighting in the sequence after coming out of the mines. It seemed (only) there was a lot of hard sunlight bounce. The shadows on the costumes seemed very contrasty. Nevertheless the background and sky were very much rolled-off, flatter and within that beautiful vintage look.
- Were you able or willing to use huge butterflies, depending on the shooting angle?
- How did you prepare for post/color grading with such compromises?
Buscando la Luz.
That was just the light that day. We had spent a day rehearsing as it was full sun with a clear blue sky. The day we had to shoot, because our schedule demanded it, there was this thin layer of stratus so we shot in that. I quite liked the effect it had on the white chalk but, maybe, that was just me justifying shooting that day. I did schedule the shots so that they were mainly backlit.
Filmmaking is all about problem solving, isn't it? Loved the ambiguity of melancholic beauty and terror in the photography.