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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 !