From American Cinematographer, This Old House by David E. Williams (August 1999)
"My general lighting approach for the entire film was to be relatively soft on the front of the faces, and then use backlight to give things shape and direction. That method helped quite a bit, given what we were doing with the camera. It would have been interesting to try more dramatic techniques with the lighting— using higher, more frontal lighting and cutting more—but we didn’t have the time to do it. Jan wanted between 18 and 20 setups a day, with one camera, while constantly switching between Steadicam, cranes, normal 35mm cameras on dollies, and VistaVision for effects work. With that many setups, we had about 20 minutes to light each shot, so we ended up doing much more pre-rigging than I normally would."
- Karl Walter Lindenlaub, 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 pre-light. Show all posts
Showing posts with label pre-light. Show all posts
24.5.09
Peter James: Pre-Lighting
From American Cinematographer, The Pre-Light Payoff by Mary Hardesty (January 1998)
"A pre-light day always looks expensive up front, but in reality it's the cheapest money they'll ever spend, since having to pay the crew for just one hour of overtime during production would pay for it. Unfortunately, many producers hope that they can squeeze in the pre-lighting during the shoot so they won't have to pay for another day and make their budgets look bad. I say, 'Give us a half day to pre-light and we can save you four hours of overtime pay-- along with possibly thousands of dollars while you sit around waiting for some effect to be fixed in post that could have already been done, had we been given the prep day."
- Peter James, ASC, ACS, CSC
"A pre-light day always looks expensive up front, but in reality it's the cheapest money they'll ever spend, since having to pay the crew for just one hour of overtime during production would pay for it. Unfortunately, many producers hope that they can squeeze in the pre-lighting during the shoot so they won't have to pay for another day and make their budgets look bad. I say, 'Give us a half day to pre-light and we can save you four hours of overtime pay-- along with possibly thousands of dollars while you sit around waiting for some effect to be fixed in post that could have already been done, had we been given the prep day."
- Peter James, ASC, ACS, CSC
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