Courtesy: Martin Parr
Andy showed us a clip of the beginning scene in Mulholland Dr. Lighting, which I took for granted, was de-constructed and explained. I like this approach – deconstructive to separate some familiar things out of the context and then analyse them. He explained how director make the small source light into a ‘motivated light’, (in the specific scenes, how small sourced light be justified as car beam and soft big sourced light be justified as lamp post light) he analysed each scene’s lighting by show us the traces of direction of the light and how big the source is, also, what the purpose of the light and what light means in the setup, to show the ambiance, to infer the location, or to infer some other specific things such as car approaching etc.
We were then shown the first film still everyone does. Quite a variety of work! I am impressed. He analysed them and gave us comment such as how to mask off in a closed corridor etc. He introduced ‘contre jour’. Martin Parr used it all the times to overcome the strong sunshine problem. I used it before but I never crack it in a technical way – readings of the background daylight same as the flash readings against the target. I would like MartinParr something later on. He suggest we dial -1 to -3 to see the difference, (obvious, -1 showing, -2 small edge, -3 subtle). We had some test afterward. We then worked some rear curtain sync etc.
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