From ICG Magazine, A Way With Words by Holly Willis (May 2000)
"One of the biggest challenges of the shot was lighting it, and somehow still keeping it dark and moody," she offers. "We lit it mainly from the outside with big lights-- 20Ks-- on a couple of Condors with very small lights inside." One of Alberti's visual quirks is to light night scenes with tungsten balanced lamps. "It looks more like nighttime. HMIs have this hard-edged, shiny white that I don't like for night, unless that's what you're looking for. But Joe Gould's Secret has a very strong feel of realism-- there is nothing surreal or fable-like or otherworldly, so the lighting was designed to be real. The biggest lights we had were a couple of 20ks and Nightlights. For the rest, we just went with the range of a regular tungsten package."
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 tungsten. Show all posts
Showing posts with label tungsten. Show all posts
17.4.11
12.5.09
Peter Suschitzky: On HMI's
From American Cinematographer, Flesh for Fantasy by Eric Rudolph (May 1999)
"There is an artificiality to the uncorrected blue of HMIs on night exteriors. However, I go in phases. Sometimes I'll use only HMIs on night shots, but I'll never use them straight; I always half-correct so they don't look quite so blue. For this big night scene in eXistenZ, I decided to go for a different look by using only tungsten light."
- Peter Suschitzky, BSC
"There is an artificiality to the uncorrected blue of HMIs on night exteriors. However, I go in phases. Sometimes I'll use only HMIs on night shots, but I'll never use them straight; I always half-correct so they don't look quite so blue. For this big night scene in eXistenZ, I decided to go for a different look by using only tungsten light."
- Peter Suschitzky, BSC
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