Mathew Collins Posted February 17, 2016 Share Posted February 17, 2016 Hi, I was watching 'The End of the Affair'. I could see white patches in Maurice Bendrix(character played by Ralph Fiennes). I have few questions on on this. Could someone share their experiences on this? Is it the reflection of lights? Is it a mistake happens in movie lighting? How could a cinematographer overcome this situation? Link to comment Share on other sites More sharing options...
Mark Dunn Posted February 17, 2016 Share Posted February 17, 2016 They're catchlights from the set lighting. They are visible in just about every MS or CU in every film. It isn't a mistake. You could avoid it by bringing the lights to a position where they don't happen but you'd then have very heavy eye shadows- besides, why would you want to? Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted February 17, 2016 Premium Member Share Posted February 17, 2016 Some cinematographers work very hard to get those reflections in the eye! 1 Link to comment Share on other sites More sharing options...
Brett Allbritton Posted February 17, 2016 Share Posted February 17, 2016 I can understand why you might be worried about this: if they're set light reflections, then doesn't that sorta break the fourth wall? The thing to keep in mind though is that the audience doesn't know that; these could be reflections from any light source in the world of the characters, but the audience probably won't even think about it anyway. Also, as David said, many cinematographers will go out of their way to make sure those reflections are there. For example, in my own work, I've found that not having these little eye lights often results in the eyes looking a bit lifeless, especially with brown-eyed subjects. So don't worry about it, no one will look at this as a mistake, and if anything it will probably make your image better. :) Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted February 17, 2016 Premium Member Share Posted February 17, 2016 The eye is a reflective spherical surface -- imagine a section of a silver Christmas tree ornament ball -- so it reflects quite a large area. If there are lights in the space -- natural, practical, or artificial -- lighting the face and eyes, then they will be reflected. It has been a tradition for a century to use special eye lights to get a sparkle in the eye, whether or not they are motivated. 1 Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted February 18, 2016 Premium Member Share Posted February 18, 2016 If for some reason you were determined to have all the eye lights be 'practical' (not that anyone would actually be able to tell), then the way to do it is to build all your lighting into the set so that there are no movie lights, bounce material, or grip used. Then any eye light reflections would only be from existing sources. You would have to decide whether losing the ability to finely control the quality of light falling on the actors is worth the trade-off. Link to comment Share on other sites More sharing options...
Mathew Collins Posted February 19, 2016 Author Share Posted February 19, 2016 Thank you David, Mark,Brett, Satsuki. Suppose the only light source in my scene is fire and I uses artificial lights for additional lighting. Would it be a mistake if the lights visible in eyeballs? Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted February 19, 2016 Premium Member Share Posted February 19, 2016 That's a subjective call. Most cinematographers care less about continuity than they do about making each shot look good. An example would be doing a shot-reverse shot sequence where one person is heavily backlit and in the reverse the person they are speaking to is also backlit or lit very softly from the side. Strictly speaking, they should be lit frontally with the same hard light that is hitting the back of their friend's head. But nobody usually cares or notices. Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted February 19, 2016 Premium Member Share Posted February 19, 2016 I guess it all comes down to what's most important in that moment for the story. Is it most important in your firelight example that you see the actor's expression so they can supply the emotional context of the scene, or is it more important that there is clearly only one light source in the scene? Only the director can answer that. For 'Mad Men' they would probably say the former, for a documentary maybe the latter. Link to comment Share on other sites More sharing options...
Mathew Collins Posted February 20, 2016 Author Share Posted February 20, 2016 That's a subjective call. Most cinematographers care less about continuity than they do about making each shot look good. An example would be doing a shot-reverse shot sequence where one person is heavily backlit and in the reverse the person they are speaking to is also backlit or lit very softly from the side. Strictly speaking, they should be lit frontally with the same hard light that is hitting the back of their friend's head. But nobody usually cares or notices. That is true, I observed in many movies. Eg: The.Birds(1963) The character 'Tippi Hedren' (played by Melanie Daniels) and reverse of her. Link to comment Share on other sites More sharing options...
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