From American Cinematographer, This Old House by David E. Williams (August 1999)
"I generally try to light stages to look like locations, but because time was such an issue on this film, having all of those lights burning was a bit of a trap sometimes. At certain points I got nervous, and when that happens, a cinematographer will start to play it too safe and maybe overlight things. In retrospect, I wish I’d had five extra minutes on each shot to stand back, study the lighting and figure out how to make it look more natural. Nature never looks overlit; movies do. I think the film turned out well, but everyone always wants to do better. Hopefully, it will also be believable and scary for the audience we’ll see!"
- Karl Walter Lindedlaub, ASC, BVK
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 location. Show all posts
Showing posts with label location. Show all posts
14.7.09
Constantine Makris: Creative Limitations on Location
From American Cinematographer, Legal Eagle by Eric Rudolph (October 1998)
"The fun of doing this show is working on location in New York City. I think my work may be better on location than in the studio. I like to deal with real problems. Since I've figured that out, I've started imagining, when I'm in the studio, that I'm on location and that I can't pull this wall out or clamp a light to this fancy molding. Having those types of limitations seems to spur my creativity. When every accent is right and every actor is perfectly backlit, I'm not that happy. I often do my best work when there are accidents. For example, when my gaffer is moving a light to the position I gave him and I see how it hits an actor as he's moving it, I'll often say 'Stop!'; Or sometimes a lamp will go out and I'll think, 'Gee, that looks better; let's leave it out.'"
- Constantine Makris, ASC
"The fun of doing this show is working on location in New York City. I think my work may be better on location than in the studio. I like to deal with real problems. Since I've figured that out, I've started imagining, when I'm in the studio, that I'm on location and that I can't pull this wall out or clamp a light to this fancy molding. Having those types of limitations seems to spur my creativity. When every accent is right and every actor is perfectly backlit, I'm not that happy. I often do my best work when there are accidents. For example, when my gaffer is moving a light to the position I gave him and I see how it hits an actor as he's moving it, I'll often say 'Stop!'; Or sometimes a lamp will go out and I'll think, 'Gee, that looks better; let's leave it out.'"
- Constantine Makris, ASC
25.5.09
Gabriel Beristain: Mood Lighting for Locations
From American Cinematographer, Paging Machiavelli by Eric Rudolph (March 1998)
"The scene where Ross actually gets on the moving carousel's enclosure, which helped us to create a feeling of confusion. We could not get any lighting direction that way, because it was all crosslight and flare and backlight, then darkness and strong frontlight, then sidelight. It helped to communicate the utter confusion in the mind of the character about just what is what and who is who in this nightmare."
- Gabriel Beristain, ASC, BSC
Creating the provocative lighting for the various rooms and corridors of the police station, Beristain says, was...
"...like being in a playground. We wanted a intensely hostile and scary environment, but we didn't want to go with the typical fluorescent lighting and Steadicam approach that is so often used in that type of setting. We decided to make each room in the police station look worse than the previous one. It's like Dante's Inferno; each place seems like it must be the worst, but it turns out to only be purgatory, and you keep going deeper and deeper into the gloom."
- Gabriel Beristain, ASC, BSC
"The scene where Ross actually gets on the moving carousel's enclosure, which helped us to create a feeling of confusion. We could not get any lighting direction that way, because it was all crosslight and flare and backlight, then darkness and strong frontlight, then sidelight. It helped to communicate the utter confusion in the mind of the character about just what is what and who is who in this nightmare."
- Gabriel Beristain, ASC, BSC
Creating the provocative lighting for the various rooms and corridors of the police station, Beristain says, was...
"...like being in a playground. We wanted a intensely hostile and scary environment, but we didn't want to go with the typical fluorescent lighting and Steadicam approach that is so often used in that type of setting. We decided to make each room in the police station look worse than the previous one. It's like Dante's Inferno; each place seems like it must be the worst, but it turns out to only be purgatory, and you keep going deeper and deeper into the gloom."
- Gabriel Beristain, ASC, BSC
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