From American Cinematographer, The Last Great War by Christopher Probst (August 1998)
“Tom Sanders did a great job with the coloring and in making the buildings distressed and dark, but the one thing that really made the look of the movie was working with the standby painter, Joe Monks. When we started working in Ramelle, if we felt a building was too bright, and that bringing in flags and cutters for a simple day exterior shot would involve too much work, we’d have Joe come in and make the building darker. We’d give him a 10’ by 40’ wall and in five to 10 minutes he’d be done. That gave the sets much more depth and separation.”
-David Devlin (Gaffer for Janusz Kaminski on Saving Private Ryan)
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 paint. Show all posts
Showing posts with label paint. Show all posts
30.5.09
Alar Kivilo: Snow, Exposure & Contrast
From American Cinematographer, The Root of All Evil by Jay Holben (December 1998)
"I was letting the snow go about three stops over. I was usually exposing at about an f5.6 outside, but the snow would be reflecting back an f16 or more. By overexposing it that much, the snow gave us really blinding whites and we'd lose detail, which for most applications was great. However, there were a couple of scenes in the film in which footprints in the snow were an important element of the story. Because of the overcast conditions and the contrast created by the way I was exposing, we would occasionally have to paint in the footprints to make them readable. Someone from the art department would walk backward through the footprints with water-based spray-paint and darken in the shadow side of the prints so they would read better."
- Alar Kivilo, CSC
"I was letting the snow go about three stops over. I was usually exposing at about an f5.6 outside, but the snow would be reflecting back an f16 or more. By overexposing it that much, the snow gave us really blinding whites and we'd lose detail, which for most applications was great. However, there were a couple of scenes in the film in which footprints in the snow were an important element of the story. Because of the overcast conditions and the contrast created by the way I was exposing, we would occasionally have to paint in the footprints to make them readable. Someone from the art department would walk backward through the footprints with water-based spray-paint and darken in the shadow side of the prints so they would read better."
- Alar Kivilo, CSC
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