From American Cinematographer, This Old House by David E. Williams (August 1999)
"Jan and I were both against frosting the glass, because then the room would feel like the inside of a giant ping-pong ball," Lindenlaub details. The glass panels in the Greenhouse were therefore painted and then scraped to look dirty yet transparent, allowing the camera to see just beyond them.
I read, discuss, and discover new things about cinematography everyday. Most of it, I consider incredibly interesting. Everyday I will share one of those things, maybe more if I have time.
Showing posts with label frost. Show all posts
Showing posts with label frost. Show all posts
11.7.09
Janusz Kaminski: Directional & Diffused Exterior Lighting
From American Cinematographer, The Last Great War by Christopher Probst (August 1998)
Kaminski was also able to modify the sunlight to his liking for some shots by utilizing Rosco #3004 Half Soft Frost diffusion in place of an overhead silk.
"For some of the exteriors, we chose to use Half Soft because it allows the light to have some direction while still softening it," Devlin explains. "Whereas with a silk, you create an overall soft ambiance, but you then have to compete with the much-brighter backgrounds. A lot of times there’s really no difference between having a silk or a solid up. One nice thing about Half Soft Frost is that it allows the sun to have a strong direction, and yet the light will wrap enough to fill people’s eyes."
- David Devlin (Gaffer for Janusz Kaminski on Saving Private Ryan)
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