American Cinematographer - February 1986 - 83

Lightflex Meets the Challenge
by Sherwood "Woody" Omens, ASC
Old New York set

for

Several things should
from the beginning:

be made clear

is

1) Lightflex may not neces¬
sarily be the right tool for every film or
every director of photography.
2) If it is right for you, let
this be discovered as you read the
script and as you examine your own
personal style and working habits.
3) The input of your producer
and director also will have

flex, it is clear that the choice

an

effect

on

how you use

it.
4) Today's color film stocks
masterpieces of science. What I am

to use

it

significant as the choice not to
it. It is ultimately an artistic judg¬

as

use

ment

based

on

an

emotional response

the

script. Bear in mind that I regard
Lightflex as an augmentation to lighting;
think of it as another lighting instru¬
ment. I hope that my experiences pho¬
tographing Evergreen will make this
to

clearer.
For me the 1940's are a pe¬
riod of great nostalgia. These were my
days as a youngster, who, without

that the films are deficient.
5) My point is to state that
Lightflex is one of many lighting options
which, when used with care, can give a
cinematographer additional artistic con¬

knowing at the time, was absorbing the
Cars, clothing, buildings, events
and conversations of the day were mak¬
ing an impression. Just how much I
was to remember about my childhood
would not really be discovered until I
was to come head on with something

trol. Since so many exceptionally beauti¬
ful films have been made without Light¬

years ago,

are

about to describe here is not intended to

suggest

scene.

which would

February 1986

jog my memory. A few
while watching a documen¬

Evergreen.

tary about World War II, I recalled that
at the age of seven I was going around
the whole neighborhood asking for cans
of cooking grease. All that slop I was

hauling in

my wagon was used in the
manufacture of ammunition in the war
effort. This was just a small
recollection.

But, reading the script of
Evergreen became a major stimulus for
recalling those early years. This was
strong involvement. I began remember¬
ing other things. There was talk of the
war far away, but also talk of the war
at home with air raid safety precau¬
tions. And there was food rationing
with little red tokens for the weekly
meat allowance. I was put back in time
recalling facts and a whole lot more. I
was stirring up feelings which, more
than facts, shaped these images.
I was feeling about these earlier

American

Cinematographer

What
times
81



American Cinematographer - February 1986

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