Constantine Makris: Windows & Shafts of Light

From American Cinematographer, Legal Eagle by Eric Rudolph (October 1998)

Makris's basic lighting approach for day interiors is to bring the key light in through a window and then fill around the actors.

"If the window is approachable on a location, that's usually where we start. However, if the location is more than a few stories up and there is only one scene, we'll try to avoid putting the window in the frame, or else gel it with ND. But if I've got three scenes to do, we'll put up a Condor and light through the window. We routinely block and light windows that are 40 to 70 feet up! On our studio sets, shining the key through the window is very common. It's not a rule, but I think the window light suits the somber tone of our stories.

If there is something interesting on somebody's desk, in their wardrobe or on their face, I'll often hit it with a shaft of light. I have mixed feelings about doing that, because I feel as if I'm 'lighting' when I do it. So I'll stop doing it for a while, and then I'll see a strong shaft of light in real life and say 'Well, maybe it's okay. These tight, strong shafts of light happen in New York City, where you will get the ambient window light and then a small, oddly shaped shaft from a reflection off another building... We use Fresnels, HMI Pars and mirrors to make our shafts. We'll cut a Fresnel or Par with diffusion or a flag, and we have different sizes of mirrors which we use to make really tight beams of light. Sometimes, in the interrogation room, we'll hit a subject with a shaft from a mirror if they have an interesting face or a tattoo. We just try to make sure it doesn't look like a spotlight!"

- Constantine Makris, ASC

Jordan Cronenweth: Shafts of Light & Smoke

From American Cinematographer, Cinematography for Blade Runner by Herb A. Lightman and Richard Patterson (July 1982)

"After many tests with various units, gaffer Dick Hart came up with the most effective light to do the job, a Xenon spotlight commonly used for night advertising at sports events. This concept gave us some wonderful opportunities. For example, there's a late-night scene in Deckard's apartment kitchen which was played with the lights out. He has just had a hell of a struggle with one of the replicants. Having barely survived, he is now standing near the refrigerator. Rachel [Sean Young] is standing by the sink, which has a window above it. She is illuminated by a soft backlight through the window and the last traces of light filtering across the room from the refrigerator. Occasionally, one of those strong beams of light cuts through the sink window and glows the room just enough to read her face.

Naturally to create shafts of light, one must have some medium, which necessitated the use of smoke. The story lent itself very well to it, in the context of a highly polluted environment. It was very interesting to work with this constant atmosphere. Smoke is wonderul photographically, but not without its problems. It's hard to control, mainly due to drafts, and a lot of people find it objectionable to work in. Beyond this, it's important to keep the smoke level density constant, as a very subtle change in this density can result in dramatic changes in contrast. The only practical way to judge smoke density is by eye. [He jokingly adds,] I find that a good density is achieved just before I lose consciousness."

Cronenweth wanted to maintain the same texture even in situations where smoke wasn't used as heavily, and accomplished this by using low-contrast filters. He details, "We changed filters in conjunction with the angle of light and density of smoke. The stronger the backlight, the lighter the filter."

- Jordan Cronenweth, ASC