From American Cinematographer, A Poignant Pas de Deux by Bob Fisher (December 1998)
"It's important to have the freedom to alter compositions and camera moves and take advantage of things that happen on the set. In order to do that, you need to plan for motivated light sources. Lamps, windows, open doors and mirrors are great because you can put them anyplace. This is especially important when you're working in the anamorphic format, because you can see more of the background behind people."
- Vilmos Zsigmond, ASC
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 work lamps. Show all posts
Showing posts with label work lamps. Show all posts
13.5.09
Claudio Miranda: 'Budget Busters'
From American Cinematographer, Anarchy in the U.S.A. by Christopher Probst (November 1999)
"We lit a lot of Lou's basement with what we called 'Budget Busters'. They were basically small, clamp-on aluminum work lamps that you can get from Home Depot for $2. We had the art department age them down and make them ugly; then we'd just throw one of them up to create a glow in the background, which really added a lot of dimension and texture. We put those all over the place in the film, using standard 60-watt household lightbulbs, and Jeff absolutely loved them."
- Claudio Miranda, gaffer for Cronenweth on Fight Club
"We lit a lot of Lou's basement with what we called 'Budget Busters'. They were basically small, clamp-on aluminum work lamps that you can get from Home Depot for $2. We had the art department age them down and make them ugly; then we'd just throw one of them up to create a glow in the background, which really added a lot of dimension and texture. We put those all over the place in the film, using standard 60-watt household lightbulbs, and Jeff absolutely loved them."
- Claudio Miranda, gaffer for Cronenweth on Fight Club
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