![]() Then I let them control the iris.īut since there are T stops engraved on the lens, why not have a meter? It gives a name to the exposure. I think that digital is another culture, a mutation.īB: This is really a silly question, but would you advise a young DP to use a light meter?ĭK: To be honest, I sometimes shoot without a meter, on commercials I’ve directed, with a DIT I know very well. I often hear directors say: "Oh they don’t have the culture of film". When you come out of the jungle and the obscurity, it’s like a heart beat, you need to feel this contrast.īB: It was great to see you speak with young filmmakers at the Master Class.ĭK: Young DPs are doing great things now. I don’t want to impose this on anyone, it's just my way of working.īB: And the same thing with over-exposure?ĭK: For the hot openings outside the jungle in Lost City of Z, I wanted to sense the extreme sunlight. If you know you’re going to do chiaroscuro and have a very under-exposed image, why open it up with a full signal? Why open up completely when you know that you will only be showing the remains of the light? For me, it’s not Feng shui. I like to give the exposure a direction, like I do with negative. I often had arguments with DITs about this. What bothered me about digital at first is that people would say that I had to expose it fully. I read a script for a feature and I imagine how I will expose it. But if you stay a long time in a location you can take time to create indirect lighting.ĭouble page in "Conversations with Darius Khondji" by Jordan MintzerĭK: I like to say that exposure is like a political statement. But it depends on the production, sometimes you don't have time for that. I also really like indirect lighting, it has a feeling of truthfulness. But they were not worth using if you were going to diffuse.ĭK: Double diffusion is very beautiful. You immediately had the right color, no need for gels. You turned the arc on and you got sunlight, a light that was a true sun. And if so, we would put two of them in the truck, and I would bring the arcs out every day, because lighting was very easy with an arc. Larry Parker from Mole Richardson adjusting a carbon arc light (credit: YouTube by Tim de la Torre)ĭK: I used to interview my gaffers, and ask if they had one or two people on their crew who knew how to use an arc. except for one 24K source.īB: Carbon arc lights. I used nothing but LEDs on the film I just finished with the Safdie brothers in New York. It makes the HMI a little less electric.ĭK: I use them all the time. I put a Lee 159 Straw gel on HMIs to take out a little of the magenta, and every time I put that in, the whiteness of the light reminds me a little of the whiteness of the arc. I only use it when the story calls for it, on day interiors, and day exteriors tooīB: You use tungsten instead of HMIs on day exteriors?ĭK: HMIs are beautiful too, but I tend to use them in indirect lighting or through a lot of diffusion. ![]() The 24K big eye has a bigger fresnel than an arc light. I don’t like their directional light as much. The Arrimax are fantastic, but they generate so much light that you have to work them. The 24K is very beautiful because it reproduces the sun.Īrri T24 24KW Tungsten Fresnel fixture (Arri)īB: The Fresnel lens is important to you.ĭK: I really like Fresnels. Sometimes the 24K is a drop-off for a day, and the rest of the time the truck just has smaller sources, or maybe just one big one. If the budget allows it, I try to have two big sources on a film. I like to use the remains of the light.īB: In the past, you would sometimes start with a 10K or a 20K far away, and diffuse it two or three times, until there was very little light left.ĭK: I often needed that before, but not always these days, because you have to work with the reality of today’s budgets.īut I really like the Tungsten 24K, it’s one of my favorite fixtures. This is PART 2 of the account of my visit with master cinematographer Darius Khondji, ASC, AFC.īenjamin B: Do you recommend that young DPs try using a big source?ĭarius Khondji: Yes, an 18K or 24K if you can.
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