American Cinematographer - December 2003 - 64
Dark Deeds
Right: Jimmy and
Celeste toast to
happier times.
Below: The
young Dave,
Sean and Jimmy
compete in a
fateful game
street
of
hockey.
interiors with
single large source -
Arri T12 -
coming through the window, and he
often
a
a
12K tungsten
held reflectors
or
bounce cards close
direct
light toward
singleĀ¬
source lighting on this show. When
people see you doing that, they think
you're just trying to work quickly,
but actually, it's often a more difficult
approach.
to
the
the
camera
actors.
to
"I did
"Clint likes
a
a
lot of
fair
amount
of
contrast," he continues, "and that
nonverbal
suited the
six times out of 10,
dark
story's emphasis
side
of
human
on
the
nature.
mini-meeting. Probably
we'd leave the
smaller light off."
When Stern wanted
Sometimes we'd get a
night scene
going with a big half-light, and I'd
set up a Midget or another small
unit by the camera, going into a 1by-1 reflector to open up the actors'
eyes. I'd look through the lens, and
we'd snap the smaller light on and
off Then Clint would
and do the
same,
come over
and we'd have
a
rior to be less contrasty,
"room tone" technique
an
inteĀ¬
he used the
that was a
favorite of Conrad Hall's. (Stern was
a
gaffer for Hall
Class Action,
on
American
Beauty and Road to
Perdition.) "Connie taught me that
you can get
to
lighting
room
-
the road
by lighting the
pretty far down
a scene
in other words, the items in
the room," he says.
"It's almost like
doing the principal strokes on a
painting, and the idea is that you
don't want to contaminate those
strokes
with
other
stuff.
My
approach is to set the lights pretty
much one at a time, and ideally, each
light does something that isn't in
relation to the other lights. Once
you've done that, what you see
through the camera will often look
as though it lacks something from
the front. Many cameramen have
put a bounce card over the camera,
but what Connie did, which
brilliant,
60 December 2003
was to
take
a
was
small light, a
American Cinematographer - December 2003
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