From American Cinematographer, Storaro and Bulworth by Garrett Brown (June 1998)
Storaro's technique is comprehensive and quite different from the usual practices in the U.S. He uses what he calls "puntiform" or point-source lights and "multiform" broad sources, but seldom anything in between. He describes the former as "so tiny, or so far away, that it makes a strong separation between light and shadow, so no area is in penumbra." His broad-source lights consist of the same fixtures, but placed closer, and usually fronted with diffusion. "I was searching for a dialogue between two specific forces—one gives me very specific shadows and the other doesn't give any shadows at all." For what he calls "sculpting" with light, he rides these separate sources on the dimmer board.
- Quotes by Vittorio Storaro, ASC, AIC
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 one source. Show all posts
Showing posts with label one source. Show all posts
25.5.09
Gabriel Beristain: One Light Source Lighting
From American Cinematographer, Paging Machiavelli by Eric Rudolph (March 1998)
"I try to use the greatest economy of lights and flags. I like to use one light source through a window or door, supplemented with a tiny bit of fill indoors, and then try to choreography the scene with the director so that we play the light. Ironically, my most complicated lighting has been in comedies. In comedy, you have to be very careful not to do a very flat looking film, yet you don't want to lose the nice moments with the eyes on the jokes. You set one light and that leads to another and another, and suddenly you have a tree of lights and flags. When you are doing a film with a personal artistic look, like The Spanish Prisoner, it is easier to use one light source. It's riskier, but if you have the director's cooperation, such an approach can be very rewarding."
- Gabriel Beristain, ASC, BSC
"I try to use the greatest economy of lights and flags. I like to use one light source through a window or door, supplemented with a tiny bit of fill indoors, and then try to choreography the scene with the director so that we play the light. Ironically, my most complicated lighting has been in comedies. In comedy, you have to be very careful not to do a very flat looking film, yet you don't want to lose the nice moments with the eyes on the jokes. You set one light and that leads to another and another, and suddenly you have a tree of lights and flags. When you are doing a film with a personal artistic look, like The Spanish Prisoner, it is easier to use one light source. It's riskier, but if you have the director's cooperation, such an approach can be very rewarding."
- Gabriel Beristain, ASC, BSC
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