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Found 3 results

  1. Hello, I've been watching the latest Homeland season (8), DP David Klein. This shot of "Saul" summed it up: how does one handle the catch light in a performer with glasses? It's a perfect little pop without a trace of reflection. I understand one moves the sources to different angles, either sideways or higher (or lower) to avoid reflections. However, with actors moving all over the place, I am trying to understand how cinematographers deal with this problem. Perhaps the big answer is...they move the sources to different angles, either sideways or higher. Watching "VICE" almost made me queasy - trying to figure out how Greig Fraser managed, with pretty much every character in glasses, running around, vast windows at every turn. In larger films like this, is post-fixing involved? Or is this part of the deal that DPs have to deal with all the time? Thanks !
  2. When interviewing spectacled people I am constantly fighting reflections from the key light. Do you have any tips on how to fix the reflection issue? Thank you for your time.
  3. The end result I need to create: http://tvtropes.org/pmwiki/pmwiki.php/Main/ScaryShinyGlasses The glared out glasses you see in a lot of animes. I am running lighting for a film shoot and the director wants a pretty dramatic interview scene. The interviewer's face is not going to be revealed until the end of the film and until then, his glasses will be completely covered in white reflection. Any suggestions on how to achieve this? I cant just point big lights at him, you will most likely be able to see the edge of the lights. Thanks! Jeremy
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