IDA | CINEMATOGRAPHY
- A 6K key shines sunlight into the kitchen through a silk butterfly outside the window. This source’s light is bounced by the room’s light walls and enhanced by smoke.
- A 1.2K is shone through a lace fabric to create a mottled spot of light on a sink in the background.
This is a simple and elegant way to get dappled sunlight to give some texture to a solid surface.
- A 575-watt shines a beam narrowed by Black Wrap on to the fire stove in the foreground.
The highlights of these 2 inside spots appear to be coming from the window, which maintains the illusion of a single key source.
- A 4-tube Kino Flo shines through a frame with 1/2 white gel to create some fill on the shadow side of the wide shot.
- The top 6K was aimed to provide a highlight on the background on left of frame
- The middle 6K created streaks of light created by holes cut out of black Duvatyn material. These streaks break up the floor and also single out Ida in the frame.
- The bottom 6K provided general illumination through a big frame inside the chapel.
- Lukasz (director oh photography) added a big frame of black material outside the frame on the left. This negative fill increases the image contrast and emphasizes the direction of the light from the right.
- He also added 2 Dedolights to give a sheen to the edges of the painting above the altar.
Lighting Setup, Camera 2:
- A 6K outside creates a bright vertical glimpse of the window above the Mother Superior. The window was frosty, creating a nice sheen that bleeds softly on to the wall.
- A door in the background is open, showing a bit of wall lit by a Kino Flo.
- A third Octodome adds soft light to the far left corner, outlining a lectern in the background.
- A dimmed-down Dedolight adds a little exposure to a dark statue against the wall on camera right.