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Grandmas Room in Home

Lonely feeling
Blown out windows acceptable
Perhaps a feeling of claustrophobia
Higher contrast
Contrast is controlled depending on emotion of scene,
Happier moments can have reduced contrast levels
Modest amounts of haze to get some light beams
Hallway Chase Scene

Lots of depth
Toppy fluorescent lighting motivated from existing fixtures
I want to use as much of the available light as possible
I like the green tinge in the BIRDMAN images
There will be a lot of low angle stuff like in THE SHINING image
Most of the focus will be on creating the energy through camera movement
Car Scenes

The simpler the better.

Id like to be able to see out the windows, so itd be great to figure out a way
to get more light inside the car
But the simpler the better.
Heres a picture of a car similar to the one well be using a picture vehicle.
This one is a 1985 El Camino. Ours is somewhere in the mid-to-late-eighties.
Most likely coverage will tend to be a two-shot through the windshield, and
basic overs on hostess trays though the side windows.
Whenever possible we will do poor-mans process, if only to try to get more
creative coverage.

Litas Truck
Dads House

Similar to Grandmas room.

Emphasis on loneliness
Haze (a little more than at Grandmas)
High contrast.
When Lita throws the brick through the window, need lots of light beams. Shell
be in silhouette at the window.

Toppy naturalistic lighting.

Theyre sitting in a booth. As much as I like the image from BOOGIE
NIGHTS, that would be difficult and a bit unnatural to achieve due to the way
that layout is at the location. The lighting would likely end up more like the
shot from GOODFELLAS.
I like the look of the toppy lighting in the TREE OF LIFE image, and the
beauty lighting in ANNA KARENINA is quite nice as well, and still feels
naturalistic, although heading in a more stylized direction. Perhaps the
flashback/dream sequences in the restaurant could implement more ANNA
KARENINA and the reality is more along the lines of TREE OF LIFE.
I really like the backlighting in BOOGIE NIGHTS. Perhaps this can be used
more during the dance sequence, as well as the more stylized lighting of
Day Exterior Scenes

Nothing terribly special.

ALMOST FAMOUS works nicely for the day exterior, because I do thing it has a
cool look, but the look seems to come mostly from the lens choice and
There is some sort of an edge/back light used in all these images.
Simpler the better. But eye-lights are important.
Day for Night Scene (Joshua Tree, end of movie scene)

None of these images are day-for-night. Ive chosen them purely as a study
of what our expectations of night exterior lighting should look like.
Day for night is either:
excessively low contrast (when shot during a cloudy day) which
causes the image to look ugly because there is no separation
between the subject and the background
or it is excessively contrasty, because its really sunny outside, and
things are blowing out when they shouldnt be, and then since
everything is bringing brought down a couple stops in color
correction, the shadows end up really crushed. Ugly image.
If youll notice in these lit shots, there is always an emphasis on separating
the character from the background. Also, the character is always
significantly brighter than the background is. This should be done when
shooting day-for-night with mirror boards and reflectors
Also, there shouldnt be a worry about night being dark, because a lot of
these images are actually fairly bright, and a lot of night scenes when
theyre lit are really only 1 stop under the shooting stop
As long as we control the contrast and the light levels on the foreground
characters, and overlight them to separate them from the background, we
should have an extremely convincing day-for-night look.
My approach will be to overexpose the scene by 2 stops (incident light)
overall, and print down in post.
I have built an ARRI Look so that we can monitor a rough day-for-night look
on set. This will give us an idea of what is working and what isnt.
Also, there will be sky replacement done in post-production.
Golden Space and the Comet

This is an abstract golden space, which Ill describe as generally

Shallow depth of field to separate the characters
Characters in foreground in the shade, with camera exposing for the
shadows, so background is much more overexposed
This should allow for something fairly impressionistic, like the images
from THE FOUNTAIN above.
The image from at the bottom from ROAD TO PERDITION shows a
more subdued version of the same thing. Abstract, somewhat
impressionistic background that is much brighter than the character.
Much of this will be enhanced in VFX (sparkles and floating things, like in
the images from THE FOUNTAIN.
The images from NAUSICAA OF THE VALLEY OF THE WIND are a similar
moment in an animated film, where things start to glow a golden color
I like the specificity of where glow is coming from. Its a very striking
Night for Night (Flashback scene)

Light inside tent to make it glow. Light from tent should light up surrounding
Generally warmer feeling.
Motivate light from the tent as much as possible, keep moonlight to a
Soft lighting
Also, this is somewhat of an afterthought, but the lighting should be similar
to the day-for-night stuff, so that the day-for-night doesnt feel out of place
(or vice-versa).
were shooting the day-for-night earlier that day, so we should have a
reasonable idea of what we got in the can.
Diane, the mother

She should look somewhat otherworldly. Specific attention is brought to her

throughout the film
Beauty lighting, low contrast
Lighting on her a little brighter than the rest of the space
Tech Specs

ARRI Alexa Classic

Most likely Panavision Ultra Speed lenses, and Panavisions
version of the Cooke 10-100
Shooting stop T4.0 for all scenes
No special filter effects
ISO 800 as the base ISO
ISO 640 for high-contrast interior scenes
ISO 200 for Day-for-Night scene
ISO 640 for Night for Night scene
Color Temp will generally be zeroed out for scenes, except
for green fluorescent scene, and the blue depressing
Day for Night will be shot at a neutral white balance (so
5600K). The blue look will be added in the DI. There
is a color adjustment on the ARRI Look that I will load
into camera.
2.40:1 aspect ratio
2K ProRes 4444
J.L. Fisher 11
Most likely Modern Deluxe Hoodmount and Hostess Tray

This is the Right Honorable Lord Kelvin, who came up with Kelvin.