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Post by spiderwort on Sept 16, 2017 1:52:09 GMT
Thanks. I'm a little surprised to hear that it works the same way as in still photography, I mean, film is film, so it shouldn't be too surprising, but I'm thinking of the apartment scene in LAURA, where McPherson turns on lights in a fairly dark room. I wonder how the cinematographer compensated for the sudden addition of light. There aren't any cuts, and the depth-of-field remains constant. You're welcome, Flynn. As to the scene in LAURA, I'll address the topic in general: The DP sets lights for the darkness to be visible enough for that part of the scene. At the same time he also lights for the room when the lights are turned on. When the actor is in the darkness we only see the lighting the DP set for the dark part of the scene. But when the actor turns the lights on, the lighting the DP set for that part of the scene is turned on in sync with the actor hitting the switch. It's a two-step process done with a dimmer board. Hope this makes sense. |
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