I like the idea of creating localized pools of light but not sure what exactly skirting means.
I'm not necessarily trying to create the look of film from the 70s, just trying to convey that it's a 70s scene, because we will be jumping back and forth in time between current and 70s... so I want that to be evident from the look. From what I can see in Argo, a 70s period movie film recently, they rely heavily on yellow and browns (walls, clothing,etc) to give that 70s sepia look while keeping a contemporary quality. Hm...
You're right. It's set in the 70s but not to look like it was filmed in the 70s. See my reply above this one. But I am interested in hearing more about mixing tungsten eye/fill light with overhead fluorescent. I'm curious how this looks... Do you have an example of this I can reference?
Im not crazy about the office lighting in All The President's Men. It's too flat and boring. Since the film Im DP'ing is about a woman going through multiple interviews in a man's world in the 70s (men who primarily want to pick her up), in my mind it's kind of a darkish time for her so I would think the mood should have shadow with pools of light... but without it looking like a horror movie. Would I bring in fresnels and possibly snoot some pools of light? Maybe cookies to add textured light pattern to the office?
Ok, fair. But in order to balance the strong exterior light, would I artificially light from the ceiling? If so, how so that it's diffused?
My other thought that to close the blinds and place my own light outside the window to control spill/direction and consistence (don't want to assume the weather is going to provide a consistent light on day of shoot).
