Sicario - Director Jennings Office (8 replies and 7 comments)
Roger in the old forum I was asking about this scene where Kate talks of "buildiing a plausible case" and you explained is was three stories up and filmed in the morning with natural light. My follow up question is....
Did you manage to shoot that whole scene in one morning or day then? From memory it is a couple of pages (or minutes) long or did you break it up over say two mornings. The light has a lovely quality to it . Also the empty interiors seem to be an eerie ongoing thematic in the film was this consciously spoken of between you and Denis and perhaps Production designer at all?
ref link to the thread;
We needed to shoot after the sun had risen enough that we had constant light so we started at around 8:30 and finished before 12.30 when the sun would have been hitting the blinds.
I seem to remember we went to the stage in the afternoon.
The large empty rooms was a deliberate look.
One thing that I loved about that scene was something that I have seen in a lot of Rogers work and I have a question about it. Roger always does a great job with fluorescent lighting alignment with practical lights in the set (I hope that makes sense) The question I have is how much thought goes into this and what are the fixtures you use are they just Kino Bulbs? That scene in particular did a great job of that, the leading lines in that scene are brilliant. Do you also do you control this from the get go when you are building a set? And if its a practical location do you replace all the bulbs? and if you replace the bulbs how are the guys hiding all the cables?
I think you are mistakenly thinking of the glazed office in the Homeland Security Centre when Kate first gets her mission.
Surely there are no florescent lamps in Jennning's Office.
I do always take care to check any existing florescent bulbs on a location. Sometimes I will just change those that don't match and sometimes I will change out every one of them. I usually use a household brand as they are much cheaper than using 'film' globes. I also like to play with brand types and maybe use a brand that are slightly cooler or have a little green in them. Florescent globes are so different from brand to brand.
For the scenes in 'Sicario' we needed to change a lot of tubes out and also some of the ballasts as they were old and the units were flickering. In fact some were still flickering and if you play the film at high speed this is quite noticeable in the corridor and 'interview' room scenes. At normal speed this is just a slow pulse and not a problem.
My mistake on the scene, I can't exactly remember what scene I am thinking about I know it was in a board room. I believe it was the first time we saw Josh Brolins character in the film. Regardless I have a quick tech question, are all current florescent bulbs and ballasts flicker free? can you recommend some good brands that are cheap? Having access to cheap Florescent lighting would be a great benefit to many of us. Also do you see much of a difference between household lights and kinos? And lastly how does the crew feel when they have to work with none film fluorescents?
Hi Almax thats exactly the scene I am talking about.
Tubes can run on either magnetic or electronic ballasts but, I think, the magnetic can be the most troublesome. There are a number of brands of florescent lights. Osram is a good one and Sylvania I have used a lot. You really need to test them for yourself. Sometimes I like a little green in a tube and that is why I use regular tubes from the store rather than Kinos. If you need a perfectly colour corrected tube you should stick to a Kino.
Roger I have been filming in a modern office which is filled with supposed Cool White fluros. I am getting skin tones which resemble a "bermuda tan" really ruddy and yellow. As a result I have opted to turn them off and white balance for the incoming daylight. I was looking at true daylight temp fluros as a solution. Something like these; http://www.fullspectrumsolutions.com/full_spectrum_fluorescent_bulbs_33_ctg.htm» I get the impression you would avoid the mixed colour temp scenario also?
Pity if GE stop making the T12. They have been a very useful bulb and I like the fact they are 11/2" rather than 1".
Roger, in this scene(c/o Almax)...
did you white balance for the fluorescent lights in the back ground, and then light Emily with something warmer? If so what did you use on Emily and how did you avoid a color temp problem? The differential between the back ground colors and Emily is really lovely to me. Thanks.
I believe I dded soft bounce using 200 watt Jokers that were corrected part way using a 1/2 CTO. I can't remember exactly. The actual florescent lamp was doing most of the work.
I was thinking about this the other day with this sequence in Director Jennings Office could you have shot there on an Overcast morning or would you have wet weather cover up your sleeve? I mean if the sun didn't come out to play that day would you have been able to resort lights?
I remember that scene viewing on my local Sony 4K cinema theater and recall I could see everyone's faces including the ones with their backs to the window so it appears the darkness of that image resembles as if I assigned a 2.6 gamma curve to a 2.2 gamma encoded image.
How anyone can connect that to proper exposure in relation to adequate lighting is a mystery to me. This is what I saw in the theater...
It's a screengrab off my own calibrated display. If it violates fair use please remove.