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Elizabeth-Golden Age


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How do you guys think this scenes were lit?

 

I really like the way they look, the first one has a really nice glow and the color temperature works perfectly for candles, it has a brassy yellow feel to it more than coral, i wouldn't be surprise if it's almost all candlelit with a soft key/ambient light. The second one, I image a huge source coming from outside. Very soft but still with good contrast.

 

Any thoughts?

 

Thanks

 

Francisco

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Ouch!!

this is a good one! Both are nice!

In the first one I see a slight reflection on the forehead and on the hear.....

- Could this be done with a china-ball, dimmed down under the candle-lights? I also noticed that the white's in the left fore-ground seem to be a little cooler than the overall look (just a little) so there is something above the women's heads?

 

I also don't have a coral-feeling with this one.......

 

The second one..... I think your right, but also a reflection on the right-hand site?

 

Etienne

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How do you guys think this scenes were lit?

 

I really like the way they look, the first one has a really nice glow and the color temperature works perfectly for candles, it has a brassy yellow feel to it more than coral, i wouldn't be surprise if it's almost all candlelit with a soft key/ambient light. The second one, I image a huge source coming from outside. Very soft but still with good contrast.

 

Any thoughts?

 

Thanks

 

Francisco

 

 

Hi Francisco.

 

There was a great AC story on this a few issues ago. From memory, that scene was discussed. I think it was Chinese Lantern and rope light.

 

Remi Adefarasin is subscribed and posts here. Perhaps you can ask him.

 

jb

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Hi Francisco.

 

There was a great AC story on this a few issues ago. From memory, that scene was discussed. I think it was Chinese Lantern and rope light.

 

Remi Adefarasin is subscribed and posts here. Perhaps you can ask him.

 

jb

 

Thank you John,

 

I'll look for the article, what do you mean by rope light?

 

Francisco

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Hi Francisco

 

As John say you could find some info at ASC magazine october 2007, when i read this article i found an interesting lines in this issue where you can find an artistic use of the nets: "Much of the film was shot with a very fine net stretched across the lens, out of wich Adefarasin cut a custom hole for every setup. Then he would tease aout some of the strands to give the hole a soft rim, throught which the key point of interest in each shot would be framed "the effects is very slight, but it adds a little mellowing to the image, especially the edges"

 

 

I think Remi Adefarasin did an terrific work

 

Xavier Plaza

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Hi Francisco

 

As John say you could find some info at ASC magazine october 2007, when i read this article i found an interesting lines in this issue where you can find an artistic use of the nets: "Much of the film was shot with a very fine net stretched across the lens, out of wich Adefarasin cut a custom hole for every setup. Then he would tease aout some of the strands to give the hole a soft rim, throught which the key point of interest in each shot would be framed "the effects is very slight, but it adds a little mellowing to the image, especially the edges"

 

 

I think Remi Adefarasin did an terrific work

 

Xavier Plaza

 

Wow, that's really interesting Xavier, I got to get my hands on that issue. I wonder what kind of net he used.

There are some other amazing shots on that film. I think everything was more subtle on this film as suppose to the first Elizabeth, for instance, less use of big shafts of light through windows The one thing that remain consistent was the high angle shots, it almost seem like they had a camera dedicated for those.

 

Here is a couple more pictures, now I regret not seeing the movie in the big screen. I like the silk courtain and how it creates a nice shadow as she exits. One of my favorite shots.

 

Francisco

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They don't specify what kind of net he use, perhaps his choose after testing a lot of nets (color, density, textures, etc)... Another interesting thing is "he mounted two peanut bulb (i don't now what kind of light is, anyone knows?) on the support bars and aimed at the lens on the net" using dimmers...

 

Xavier

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They don't specify what kind of net he use, perhaps his choose after testing a lot of nets (color, density, textures, etc)... Another interesting thing is "he mounted two peanut bulb (i don't now what kind of light is, anyone knows?) on the support bars and aimed at the lens on the net" using dimmers...

 

Xavier

 

Now you got me going with the frames ;-)

 

One of the things I like about this film is the fact that eventhough it is a period piece in every possible way, it has a modern quality to it, one of the reason perhaps is because the lighting choices are very bold as well as the camera movement. I think it keeps the viewer interested, it's not like one of those period pieces where you feel as if you are looking at a picture book and everything is more formal and pictorical in a way.

 

I like in the last shot how she's partially iluminated by the light coming from the outside.

 

Francisco

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