“This was my first collaboration with Sean, and it proved a very pleasant experience. The majority of the lights I used were trusty, old-fashioned, directional Tungsten lamps – like 1K, 2K, 5K and 10Ks and Parcans. I really enjoy using them to shape the light and pick out details, and I know how wonderful Tungsten light looks on celluloid film, especially the romantic scenes between Tom and Sandra, which we shot on 500T.
“Of course, we had some modern LED lights, like ARRI Sky Panels and Astera tubes, but I used them judiciously, mainly as soft sources to create overall ambience. For example, when we shot at night around the train station in Queens, the station itself was lit well-enough for shooting on 500T, but we concealed a lift with a 10K Tungsten to give a warm spot beneath the bridge, and hid several smaller Tungsten lights to create pools of warm sodium spill. To create a cooler, cyan ambience in the streets, we did a wet down and used two ARRI Sky Panel 360s on another concealed lift.”
Of course, shooting interiors in tall buildings where there’s no hope of controlling or introducing light from the outside, is the amongst every DPs biggest head scratchers. Such was the case when filming on the 48th floor of the Marriott Hotel.
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