Let's take a lookatthislightingsetupandseewhatwecanimprove.
Thereare a lotoflightshere, especiallyforwhat's supposedtobe a dark, dingydivebar.
Let's turnsomeoftheseoff.
Sincethisis a barintearinlateafternoon, lesslightswillfeelmorenaturalforourlocationwhilealsotakingthetimeofdaywe'retryingtoreplicateintheconsideration.
Thelawyerisbeinglitwith a toplightingeneral, unlessit's a creativechoice, it's goodtotryandavoiddoingthis, sinceitcastdramatic, unflatteringshadowsthathighlightthenoseandLevi's darker.
Howevertheshanginglightsorwhatwecallpracticallightsorlightsthatappearoncameraispartofthesetdesign, andtheymotivate a topdownsourcebypullingthetoplightforward a bit, wecanavoidmanyoftheunflatteringshadowswhilestillrepresentingthepracticallights.
Oh, um, yeah, wegotthetoastandthe I needtoputonthetoast.
Morefingers, a DRAMDani.
Thesamegoesforunderlying.
It's normalforlighttobecomingfromtheundersideof a bar, butwhenit's thisintense, itcreates a creepy, unnaturalstructureonthehumanface.
However, ifwemanagetheintensitybydiffusingthelightwithsomethinglikethisbleachmuslin, wecankeepthingslookingnaturalwhilestillaccuratelyrepresentingbarlighting.
Thetopflightisspillingontothewallsinouractors a bittoomuchsowecanput a gridonittohelpwithdirectionality, forcingthelighttobemoredirectlyfocusedbeneathit.
Evenwiththesilkarekey, lightstilllooks a bittoobright.
Manylightshavedimmersonthem, andloweringtheintensityofthelightitselfmightbe a goodidea.
I mighthavebroughtmyrockwhileintoJoanne's fabrics, andshemighthavedestroyed 17 rollsoffabric, but I didnotsetthatplaceoutfire, but I didnotsetthatplaceonfire.
Nomatter.
Thegenre, havingappropriatelightingcanturnanaveragesceneinto a killerone.
Sorry, I forgottoleavethesnake.
Noneoftheseairsteadfastrules.
They'realltoolsthathelptell a story.
Whilemostofthesechoicesareultimatelyuptothedirectorofphotographyandthedirector, thegafferplays a criticalroleinexecutingtheseideas.