Studio shoot pt 6
Research!
Lighting research:
Anthony B Richmond - “ Don't look now”
brilliantly lit, whilst it's a dark story line the lighting created makes it clear that the director intends the audience to feel sympathy for the characters as they experience grief
Nestor Almendros and Haskell Wexler - “Days of heaven”
academy award winning film, beautifully lit and incredible cinematography, Almendros also worked on “Sophie's choice” another beautifully lit film.
“In the mood for love” -
Aloof lighting created, shadowy, absent yet still present lighting reflecting on the taboo relationship between the two central characters.
“A space odyssey” - 2001 -
Incredibly complex yet beautifully clear lighting, this film consistently stands the test of time. There's a synthetic lighting created during interior settings to create a white, solid, clear light, as well as a light tunnel during another scene. - worth looking into further.
Designs:
This design is good to mimic day light. Bright and powerful yet soft enough to bend. With our current plan for ascetic, we are looking to create a clean cut lighting plan so the set appears white but doesn't over expose the actors, therefor this may be a good choice
I feel that this would maybe work slightly better for our shoot because of its nature. We will have a light background and so the lighting would help enfisize that. Also because the setting is deliberately plain, we want to try and draw as much attention as we can to the actor and their movement so this would draw onto them and light them perfectly. The issue would be moving the reflector every time the actor would move.
Part of me would love to create this four point high key lighting design, the three points of lighting from the back, fill and key all create three dimensions for the actor which makes them pop out from the back drop, however also lighting the backdrop creates more continuity and also shows what environment they are in. I think a widespread version of this lighting plan would be enough to light the set, as well as a reflector in case we need it to allow the actor to draw more attention from the audience. I think this lighting design is best suited to what we are aiming for because it will create a solid light, however I would add trace onto the back light to enable the light to cuddle the actor and wrap around them, as I don't want to light them harshly, I want to create a heavenly type environment, clean and simple. it would be something to test out when practicing in the studio as I want to ensure I don't over expose.
Lighting research:
Anthony B Richmond - “ Don't look now”
brilliantly lit, whilst it's a dark story line the lighting created makes it clear that the director intends the audience to feel sympathy for the characters as they experience grief
Nestor Almendros and Haskell Wexler - “Days of heaven”
academy award winning film, beautifully lit and incredible cinematography, Almendros also worked on “Sophie's choice” another beautifully lit film.
“In the mood for love” -
Aloof lighting created, shadowy, absent yet still present lighting reflecting on the taboo relationship between the two central characters.
“A space odyssey” - 2001 -
Incredibly complex yet beautifully clear lighting, this film consistently stands the test of time. There's a synthetic lighting created during interior settings to create a white, solid, clear light, as well as a light tunnel during another scene. - worth looking into further.
Designs:
This design is good to mimic day light. Bright and powerful yet soft enough to bend. With our current plan for ascetic, we are looking to create a clean cut lighting plan so the set appears white but doesn't over expose the actors, therefor this may be a good choice
I feel that this would maybe work slightly better for our shoot because of its nature. We will have a light background and so the lighting would help enfisize that. Also because the setting is deliberately plain, we want to try and draw as much attention as we can to the actor and their movement so this would draw onto them and light them perfectly. The issue would be moving the reflector every time the actor would move.
Part of me would love to create this four point high key lighting design, the three points of lighting from the back, fill and key all create three dimensions for the actor which makes them pop out from the back drop, however also lighting the backdrop creates more continuity and also shows what environment they are in. I think a widespread version of this lighting plan would be enough to light the set, as well as a reflector in case we need it to allow the actor to draw more attention from the audience. I think this lighting design is best suited to what we are aiming for because it will create a solid light, however I would add trace onto the back light to enable the light to cuddle the actor and wrap around them, as I don't want to light them harshly, I want to create a heavenly type environment, clean and simple. it would be something to test out when practicing in the studio as I want to ensure I don't over expose.
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