Lighting

True Grit Lighting (5 replies and 3 comments)

thedevmehta
9 months ago
thedevmehta 9 months ago

Referring to your lighting plans for True Grit, 

I have 1 question; 

  • Why did you go for putting gels on the windows instead of going for a Tungsten source?

Thank you! 

https://www.rogerdeakins.com/wp-content/uploads/2018/03/courtroom-wide-as-shot.jpg
https://www.rogerdeakins.com/wp-content/uploads/2018/03/courtroom-int.jpg
(unknown)
9 months ago
(unknown) 9 months ago

This question is too hard. I still have not found the answer. You feel too stressed here» to watch the movie offline. have fun

heiner
9 months ago
heiner 9 months ago

At least, I think, in this case Tungsten sources would have been to weak. Its 18k Parabolic here.

dmullenasc
9 months ago
dmullenasc 9 months ago

If you don't gel the window and just put a tungsten lamp outside of it, then you'll still get uncorrected ambient daylight coming in the window, even if most of it might be overpowered by the tungsten lamp.  Plus the view out the window, if visible, would be uncorrected daylight for an interior balanced for 3200K tungsten.

Bala
9 months ago

As mr.david Mullen says is perfect explanation and makes you think....and to make it more clear   Hmi light and day light is 5600k ...both  coming through windows....so u  put  85 on windows...it's one of the easiest choice.

Roger Deakins
9 months ago
Roger Deakins 9 months ago

When you are shooting on location you have the option of gelling the windows or matching your lights to daylight. In this case the gel on the window. In this case I had a Hampshire frost and a half CTO on the windows. The first to soften the light and the color because I was shooting on a tungsten balanced stock. I was using the HMI Par lamps because I wanted something really powerful and there really is no tungsten equivalent especially as I would have needed to add blue to the tungsten to balance it with the daylight.

thedevmehta
9 months ago

Thank you!

Patrick Kaplin
9 months ago

I’m wondering, I understand you probably balanced the temperatures this way to achieve that warmth in the courtroom. The decision to half CTO the windows to bring it closer to the tungsten practicals. But I’m curious, given the expense/time of gelling all the windows, would it not be wiser financially to find cooler bulbs for the practicals, avoid gelling the windows, then time the image in the DI for whatever level of warmth you’d prefer?

Roger Deakins
9 months ago
Roger Deakins 9 months ago

You could possibly do that but there were no color correct alternative bulbs at the time the film was made. Besides, I prefer shooting with a tungsten balanced stock and, with such strong light sources, I did not want to work with a filter in front of the lens. Yes, I could have graded it back but I didn't think it would look quite the same.

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