Professional Documents
Culture Documents
(habilitation lecture)
Film is light
F
ederico Fellini
film director
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Asen opov A..K. FAMU
2016
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shot on film stock. I have performed very thorough and
rigorous tests. My commentary was published in the
Incamera magazine: It was apparent already from the
results of the sensitometric test that the material has
lower gamma... This means that after Kodak had stopped
producing Kodak Primetime 640T Teleproduction Film
5620, they decided to enrich their palette of color
negatives with a softer and highly sensitive material,
suitable not only for processing on Telecine, but also for
the production of film copies.
I drafted the shooting of the tests so that I could test
primarily the reproduction of the highest contrast in color
and brightness. With a hand-held camera I looked
around an apartment in which there was a view through
three rooms in a row, each of them of different color and
intensity of lighting. I did not use any additional light
except for realistic sources, both tungsten light bulbs and
fluorescent tubes. The main source was the daylight
coming in through the windows. I used the Wratten 85
filter on the camera and I set the exposure to the center of
the brightest room.
The main thing that intrigued me while evaluating the
results were the transitions from the high brightness of the
windows to the dark shadows in the corners. They were
gradual and they came across very naturally. Still they
were able to preserve the details. Second thing was that
the rather aggressive coloring of the interior, which was
yet enhanced by local sources of different color
temperatures, was captured very accurately, without any
poignant color deformations. I consider these two qualities
to be the main advantages and specifics of the new, highly
sensitive negative material 5284.1
Because the digital postproduction of films was very
expensive and still the result was a copy, Kodak swiftly
introduced an appropriate copying material which was
harder, with brilliant white and rich black: Vision Premier
Color Print Film. This positive material was aimed at
production of copies by a standard copy process. I shot
elary on Vision 5284 and copies were produced in a
traditional way of optic copying on Premier.
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From the film ELARY, 2003
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From the film ELARY, 2003
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considerably less sensitive and had a higher gamma -
required much more complicated lighting. Logically, the
result came across as very stylized and from todays point
of view, even picturesque, contrived, almost unrealistic.
In the course of time, we can gradually see the effort of
great cameramen to light as simply as possible.
Today, the realistic picture comes out almost by itself. But
in this, lies the problem with the degree of stylization
and also with a noticeable devaluation of the cameraman
profession. Even among professionals, there are cases of a
director deciding that there is no need for a cameraman.
Skilful gaffer will do. In most cases these are directors who
are at the same time producers of their movies. Why not
save the money! But I am convinced that Quentin
Tarantino, unlike his friend Robert Rodriguez, knows very
well why he works with Robert Richardson - one of the
best cameramen ever!
It must be noted that current film production is carried out
mostly with digital cameras. This means that already since
the times of previously mentioned Dogma 95, there is one
incantation for all our efforts: Film look. Even if over
time, the term itself is slowly changing, in all periods there
were and there still are certain tendencies or even
fashions. But we should break away from these
stereotypes and clichs and during solving each new task
simply stay ourselves. Fortunately, each of us sees and
feels slightly differently. It is a very individual, intuitive and
Id say even intimate process. We all grew up with
different role models and we have different emotionality
and sources of inspiration, therefore we are all unique!
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a) Guarantee of the right exposition
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It is well known that all parameters in film, especially the
technical ones, are interconnected. They influence each
other and one results from another. It is impossible to
strive for High Key and underexpose at the same time. Or
vice versa: correct exposure is still very important in spite
of the current sensors reaching the dynamic range of 15
stops. I was very unpleasantly surprised to hear some of
the FAMU graduates admit that they would not dare to
shoot a feature film on negative let alone on inversion!
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light reality as much, that the stylization itself is more
realistic, or rather impressionistic. These days we use
less lighting and more natural light or so called negative
in order to create the required atmosphere and mood.
With the example of several worldwide cameramen I will
try to outline the development of certain basic trends.
These trends are mostly related to the redefinition of
terms such as Realism, Stylization and Film look.
John Alton
1901 - 1996
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Paris. It is the first color movie which has received an
Oscar for camera.
John Alton is one of the first people who distinguished
lighting according to genre. He claimed that each genre
requires different stylization of lighting.
According to him, there are three basic ones: comedy,
drama and mystery. The last one can be understood as all
derivations of thriller, horror and fantasy.
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From Raw Deal, 1948 www.brewingdebate.kinja.com
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From Painting With Light
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1. Fill light
2. Key light
3. Filler light (Alton warns not to mistake it for Fill light.
Filler light was a soft light placed under the Key light
with the purpose of lighting the shadow of the Key
light)
4. Clotheslight (it was supposed to ensure the correct
exposure of mostly black suits)
5. Backlight
3 From Painting With Light
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6. Kicker light
7. Eyelight
8. Background light4
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14: The World Is a Huge Television Studio and We Are All
Photographers.!6
Raoul Coutard
*1924
www.criterion.com
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From Jules and Jim, 1962
www.refractionsfilm.wordpress.com
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A snapshot from filming Pierrot goes Wild illustrating the
way of lighting interior, 1965
www.lightsinfilm.wordpress.com
His casual style was later surpassed but for me, he still is
one of the important arcs in the spiral-like rivalry between
realism and prominent stylization. It was of course
determined also by the technological development of
lighter cameras and small lights.
Raoul Coutard once said: No one will ever go see a film
because the cinematography is magnifique.!7
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www.tasteofcinema.com
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From Conformista, 1970 www.twitchfilm.com
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From Apocalypse Now, 1979
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almost picturesque poetic of Film Noir. This is another
example of the progression in the mutual relationship
between realism and stylization.
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be educated not only in technology but also in psychology,
symbolism, and in dramaturgy of visual elements... to this
day, I am a student because to have thirst for knowledge
is a great blessing.10
When Francis Ford Coppola, fascinated by digital
technologies, asks him to shoot his movie with a digital
camera, Storaro refuses and argues that these cameras
are not yet able to achieve an image good enough for a
large screen.
However, Woody Allens most recent movie Caf Society
which was released earlier this year (2016) was shot by
Storaro and produced with SONY Cine Alta F 65!11
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He is an unprecedented winner of three Oscars in a row in
the past three years. He has shot over thirty films of
various genres with rich and distinctive approach towards
stylization and with an extensive use of new technologies.
Many of them have fairy-like poetics constructed
completely in a studio.
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Gravity is a sci-fi thriller where he had to deal with many
technical aspects of modern digital cinematography.
Except for the faces of actors everything was CG.
Moreover, the creators wanted to shoot the film in long
takes in motion so that the viewer will get the impression
of physical presence. A major part of the film takes place
in outer space on the orbit around Earth. Logically, there
are four sources of light: hard sunlight and softer
reflections from Earth, Moon and the space station.
Lubezki created a huge Light Box consisting of LED
sources which he then used to modulate countless
variations of light atmosphere with regards to the
movement of Earth and Sun against the actors and with
regards to the movement of camera which often
transitions from a subjective view through the window of a
spacesuit to an objective view from outside. Many scenes
were additionally lit in postproduction with the post-
lighting method. In an interview for American
Cinematographer Lubeczki says: If a movie has a strong
CG element, that doesnt mean the cinematographer
didnt light it or frame it!... You can call it
algorithmography or whatever you want, but there is still
a person overseeing the images.There are amazing
methods for doing what I would call post lighting, where
you shoot a face with multiple cameras at really high
speeds, and as you are shooting the actor, you are lighting
the face with thousands of different lights and hundreds of
different options for lighting....I was able to do all the
lighting for the movie, and to collaborate on the framing
and design of the shots. Who better than a
cinematographer to understand what light should be doing
in a scene?.12 The film was shot with a camera ARRI Alexa
with the exception of the final scene on the Earth for
which a negative 65mm was used.
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From Birdman, www.pinterest.com
Film Birdman was shot as if in one take with complicated
transitions not only between various interiors with
different light atmospheres, often with 360 turns of the
camera, but also with transitions between interiors and
exteriors. This meant incredibly precise and inventive
lighting of the long sections of the film. Moreover, the
director demanded distinct colored accents for
highlighting the drama (see picture). ARRI Alexa and Alexa
plus for handheld and steadycam were used.
Regarding the lighting, Lubezki is a successor of the
concept of lighting the scene globally. He uses mainly soft
but directed diffusive light and also lets the actors be free
to move. Simultaneously, his portraits are simply lit
without the need to glamorize them in any way. With this,
he is changing the definition of the term modern glamour.
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From Things You Can Tell Just by Looking at Her 1999
www.cineplex.com
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Although it is his complex approach not only the light,
Lubezki prefers widescreen lens from the series, which are
usually considered overly in focus. He even uses them for
portraits and is not afraid of relatively high T Stops.
Thanks to that, he achieves great depth of field, which,
combined with a clear picture without grain that he prefers
while working with both negative and digital shooting,
results in a magical, almost animalistic hyperrealism.
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4. Film look
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there are no optical deformations. And it is slowly
becoming the norm. The generation of our children can
barely remember a film copy. It is even difficult to
convince them to watch a black and white film...
Today, most of these imperfections, which once created
the inseparable flavor of the film look are slowly
disappearing. They cannot define the film look any
more. Moreover, these former characteristics of a film are
becoming stylization elements for expressing a time
period. For example in the film Steve Jobs, there is a
sequence from the 70s filmed on S16, 80s on 35mm and
the present on a digital camera. In relation to that, each
sequence is lit differently.
We can see that such cameraman as Lubezki (and not only
him) shoots fake Cinema Scope with spherical lenses
that are very sharp and with high T Stops. He does not
hesitate to use widescreen optics even for filming portraits
of actors. He prefers clear not grainy image even when he
shoots on film stock. And he lights almost invisibly!
The degree and nature of stylization are directly
influenced by the development of technologies but they
are also defined by the relationship between the director
and the cameraman.
One of my greatest role models, from whose film I took the
liberty to place a picture on the front page, Sven Nykvist
writes in his amazing book In Reverence of Light: The first
time I read the screenplay for Winter Light, (1963)...I had
thought I had an easier task ahead. The film takes place
during several hours of daylight and mostly inside a
church.
It is gonna be easy, I said to Ingmar. Three hours in a
church at midday when the light doesnt change that
much.
Ingmar almost burst out. You dont know much, do you? It
does change! And this is exactly what I am after the
gradual, barely visible change, with almost no
shadows. ...Today, I remember the film as a difficult
shooting. We had plenty of heated discussions and
irritated reactions with Ingmar. But at the same time, we
somehow fused together in a curious way and for me as
for a cameraman this film was a very important turning
point. I have learned the importance of reduction, I have
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learned to minimize unnatural light, every illogical light.
Ingmar literally forced me to be a one hundred percent
realist regarding the light. ... My pursuit of simplicity came
from the pursuit of logical light, genuine light, true light. ...
An actor is and will stay the most important tool in a film.
Cameraman has to capture reactions of this tool, focus the
attention on its character and the expressivity of the face.
That can be achieved, among other things, by different
lights for different characters. The face must not be lit
beautifully. Shadows are also a part of our life. 13 Sven
Nykvist achieved that completely already in 1982 with the
film Fanny and Alexander for which he received an Oscar.
As we can see, since the times when studios, originally
adapted for shooting with the use of daylight, closed up
and thus the artificial light came into use, cameramen
have had to deal with the problem of achieving realistic
light and the right degree of stylization. It seems that with
the development of technologies, which are getting closer
and closer to reproducing reality as it is seen by human
eye, the whole appearance of film art is becoming more
and more realistic, including film lighting which tries to be
inconspicuous and unobtrusive. Glamorizing features,
effective contour backlights, hard pojections, contrasts of
silhouettes and other similar practices are of course not
going to disappear. They will continue to be used but the
prominent area of their application is going to be genres
like fantasy, horror and post-apocalypse, where logic of
the prime reality has no importance. To be fair, I have to
note that this year, the film Mad Max: Fury Road - which
belongs to the given genre - was nominated for an Oscar
for camera. It was very effectively shot and tastefully lit.
Well, as I said at the beginning: we all see it and feel it a
bit differently. It is a very individual, intuitive and even
intimate process. We are all unique and this is the most
beautiful thing about our work and our craft.
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Asen opov A..K.
www.asensopov.com
FAMU
2016
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