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notes: |
As lighting director on this micro-budget project
with a minimal crew, I was trusted by DoP Richard Massey to make
most of the creative and technical lighting choices. We
collaborated closely with editor/AD, Brad Stephens, and
producer/director, David Jetre, to assure our choices best served the
story and mood of the film.
As we approached each scene, I worked with
Richard and Brad to determine the major action areas of the set and
build rough-out lighting. Once David started working with the cast,
I identified any additional needs (usually hair lights, edging, and fill.)
With each new angle, I made final judgments and adjustments.
When possible, my fiercely dedicated G/E
team lit ahead
of the shooting team. On the first few days, I metered to assure
an F2.0 for the camera rated at 250ASA. As I became accustomed to
the lighting levels, I began lighting by eye.
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tools: |
camera – Canon XL-H1
lighting:
AFT one-ton tungsten G/E package
heroine in bed - morning:
2K Junior through sheer curtains
2x2 Lee soft silver or crinkled mylar bounce
saloon - day:
camera balanced at 4100K
2K Junior through window with hampshire frost on bottom panes
ambient skydome for fill (supplemented by 4x4 diffusion and 9-light FAY
as needed)
fog to taste
jail - day:
camera balanced at 4100K
1K Baby through window
4x4 Lee soft silver bounce
fog to taste
campfire - night:
camera balanced at 4100K
FAY (2 globes) moonlight edge
1K Baby w/2x3 softbox on flicker box
200w china ball |
