Extreme light control
Posted 27 April 2008 - 09:07 AM
I post this as an example of some of his work.
I assume the best lighting solution (in a motion world to achieve this level of control on the face) would be a dedolight 200 with DP-2 and an 85 dedo Lens. I assume an ETC S4 would be too cumbersome.
Or is there another way?
Posted 27 April 2008 - 10:34 AM
I would assume the lighting in that photo is from flashes, not from a constant source, but there are plenty of ways with stills to achieve that light; and don't forget how important make-up is in this photography. She's just very whited out on her face.
Of course I could also be totally wrong.
Posted 27 April 2008 - 12:28 PM
What is unique here is the contrast. The face is a little overexposed yet the chin/neck is completely black. You'd expect to see a little return on her jaw from the hotspot on her left shoulder, yet there is none. I suspect they've done something with the film or post.
Posted 27 April 2008 - 05:24 PM
1. Photography is a medium focused on one frame, one pose, one lighting setup. Cinematography is focused on multiple frames, many moving parts, and complex lighting setups made to match together.
2. Editing. Photographers know how to edit a shot. It's crazy what can be done; I've replaced skin, changed lighting, added shadows, made the skin more three-dimensional with burning/dodging, etc. While there is editing in bigger films, they do not go to the same extent as photographers do/can.
3. The lighting units. This is more in response to strobe lights. They are smaller, more powerful and more versatile than continuous lights. You can really achieve any f/stop, shutter speed, or color you want with very little changes.
Saying that, I believe working on photography, especially with strobes (which you have to imagine how the light will look) massively helps cinematographers/gaffers.
Thanks for posting his site, it was great to seeing his work. He has very interesting concepts.