Lighting continuity - major changes in setups
Posted 14 August 2010 - 06:47 AM
I know that these lighting continuity changes don't generally make the average viewer protest angrily, but these are some major lighting changes. I do see this all the time. But I most often see this on closeup singles, or over the shoulders, or dirty two shots (whatever you call those shots). Are these the only types of shots that allow this type of drastic lighting change? How do you all feel about lighting like this? Does it distract you? Do you accept it as a natural way of lighting a set?
Check out the following stills:
Posted 14 August 2010 - 07:27 AM
That all being said, it's not really my cup of tea, I like to keep lighting as continuous as possible-- unless I have a reason to change it for the story.
Posted 14 August 2010 - 12:19 PM
Posted 14 August 2010 - 01:00 PM
You can argue that light reflects off surfaces differently from different angles too...
Posted 15 August 2010 - 11:58 AM
Love and Other Drugs Trailer
Here is a link to the trailer, which will give a better idea of the cuts and the context of the scene as a whole.
I still don't see the problem. There's nothing in the way that scene is lit which isn't standard procedure for reverses. If you dislike it, you are really only left with a few options. Either you light your master and coverage from one side really nicely, and put up with the reverses being very flat, or you keep everything purely sidelit so that your key doesn't move at all when you turn around. Sidelighting can be nice, but it's not always appropriate, and you are restricting your choices of tone and mood greatly.
Lighting a scene involves cheats and compromises. I don't see them as any more distracting than music suddenly swelling up on the soundtrack, or any other artifice of cinema.
Posted 16 August 2010 - 06:44 PM
You can tear every movie ever made to shreds finding
Posted 16 August 2010 - 08:19 PM
And yes if you look at any movie with this eye you will go nuts. You'll wonder why every leading lady has a lower contrast, soft, wrapping key and the leading man has a harder chiseled light.