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The Colours of Woody Allen's Paris and Rome

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Which part do you mean?


It's kind of hard to see in the BTS video, but it looks like the setup is a large HMI bouncing into a 4x4' bounce board, with two 4x8' flags on the sides to keep it from spilling everywhere. It's basically Benigni's key light, without it he'd probably be as dark as the lady behind him.

They perhaps also wanted to emulate the lights of the TV cameras.
Edited by Alexandros Angelopoulos Apostolos
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What do you cinematographers called that grippage around a fixture?


That light ended up giving this result:





It's this faint white reflection on Roberto Benignis forehead. Do you know why that might have been needed?

I was replying to this post that you made. The light you asked about made him brighter.

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We don't know where the camera position is but it could probably be a negative fill, which is used a lot in many productions to create contrast by taking off light from the subject or subjects.


It works very well in overcast days or places where everything looks flat because you start with a flat image and you can create the shape that you want by introducing negative fill / s as needed.


Have a good day.

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The camera for this scene from the film was placed at a 90° angle to the left from the viewpoint of the camera that took this picture. That means that it was placed opposite the ivy-covered wall, or opposite Alec Baldwin’s face if he were looking straight and not towards Jesse Eisenberg.


However, in the film, I don’t think that there’s shadow on Alec’s face, not even a tiny bit. I’d have to check.


But another thing I was wondering is could his black jacket be intentionally black and could it have served as some sort of negative fill, albeit very minor, probably? :)


Then there’s that Roman woman in the Piazza del Popolo scene, also wearing black, but I don’t think her clothes were acting as negative fill.




I was really interested in finding backstage photos of the production with negative fill since Darius said in the interview for the American Cinematographer he used it a lot.


Thank you, Miguel Ángel.

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