Bridge of Spies lighting

[Satsuki Murashige]

P. S. 12 points for you, Satsuki, for even knowing the dimensions! I get it that theyre standard, but its just phenomenal that you just drop these around so easily. :D

I'm just guessing, but those are the standard sizes used. They basically come in small, medium, large (and extra large)!

[Alexandros Angelopoulos Apostolos]

Like I've said before, all those lighting decisions make a lot more sense when you can also post the frame from the film. By 'looking though the viewfinder' you really see what's in frame, what's out of frame, and the effect each piece of equipment is having. Otherwise, it all looks like random choices.

 

Crucial piece of information (for me). Must remember that.

 

As usual, I only now realize that there are five sheets, that I’ve missed the one between (our) leftmost and the one set highest. Then the one covering the light in the corner is actually the fifth. But nevermind, you got it.

 

One more thing, and I realize that this might be a bigger discussion, but how far in advance does the cinematographer and his department know how much equipment they’ll need? It depends? Because I’ve just read that, for example, Amour was all storyboarded in advance and in detail so Darius Khondji, his gaffer, Thierry Baucheron, and his key grip, Cyril Kuhnholtz, knew almost everything quite early on. But that’s most likely an exception. Or do you just order one of these grip trucks (I just saw that such packages existed), and you’re set?

[Alexandros Angelopoulos Apostolos]

I'm just guessing, but those are the standard sizes used. They basically come in small, medium, large (and extra large)!

 

I forgot to mention that you even know the wattage of the fixtures. :D

[Satsuki Murashige]

Well, the Par 64 is almost always 1K. Unless it's a Source 4 Par, which is 750w and looks totally different.

 

On a movie like this, the DP, gaffer, and key grip usually figure this stuff out during prep, scouting locations, visiting sets, talking out coverage ideas with the director. You come in with a plan and order extra if needed. But the main order is put in, sourced, and budgeted for well in advance of shooting.

[JD Hartman]

Well, the Par 64 is almost always 1K. Unless it's a Source 4 Par, which is 750w and looks totally different.

 

 

Actually, a standard PAR64 "parcan" can be fitted with a 500w PAR64 globe, but that's not very common.

[David Mullen ASC]

A parcan (tungsten) with a very narrow spot PAR64 globe ("fire starter") can sometimes be 1.2K. It looks like the parcan in this case is being used to put a hot slash of light on some piece of furniture along the wall behind the actor. The big topper flags on the soft light isn't going to do much on the actor but again is being used to shadow the top of the walls & ceiling behind the actor. When you have a camera position where window light might be coming in from a flatter, more frontal angle, it is common to use flags to at least create some shadows and fall-off on the walls so there is some contrast.

[Alexandros Angelopoulos Apostolos]

You two, David and Satsuki, are tireless. I was just about to ask Satsuki what is he doing up at 4 a.m. answering question when he mentioned it in another thread. One cannot thank you enough. I’m glad that sometimes someone else jumps in, such as Brian Drysdale above or Freya Black in that discussion about the Sony F65.

[Satsuki Murashige]

Thanks for the info, was hoping someone else would chime in :)

 

Not tireless, just not working! The career of a DP has lots of ups and downs, as I am coming to find out. It's certainly humbling to go from working 25 days a month as an AC to only a handful of days as an operator and DP. I'm sure it will pick up at some point.