The economics of motion picture production invariably fall on the director of photography. He is expected to utilize more tricks and lighting devices to cover lack of actual construction, yet create the illusion that such construction exists. More and more of our scenes call for process photography, whereby a still or motion picture is projected from the rear on a translucent screen. To effect a composite scene realistically, ingenious lighting must be devised to illuminate the subject naturally, yet keep the screen in darkness.
In recent years, there has been an increasing tendency to utilize natural interiors for motion picture settings. Many of our current productions transpire in Macy's, in some courthouse, private home, or public building. This has given our productions a sense of authenticity, but in doing so it has presented new problems to the cinematographer. To light such interiors and the players therein to the standards expected of us is a challenge. To meet with these conditions, huge filters often need to be placed over windows and doors to balance exterior light with that available inside. As lights can seldom be placed overhead, horizontal sources must be employed. Reflections from glass, marble and other shining surfaces add to the complications of natural reproduction.
As action is the motivating force of the cinema, the majority of our scenes today require the mobile camera technique. Our cranes, velocilators, dollies and camera mounts are wonders of engineering and construction. Few realize, however, the difficulties of lighting these moving shots. The actors must be well-photographed under all conditions, yet there can be no shadows from these traveling monsters.
The ever-present microphone constantly hovering close overhead, darting here and there as the actors speak, creates a shadow problem of no mean proportion. To cope with the microphone situation in sound films, a whole new lighting technique had to be devised. Ingenious light shields and masks have been evolved to eliminate stray, shadow-casting light.
Our sets are broken up with light patterns that stay clear of the microphone. We use dimmers for incandescent lamps and shutters for arc lights to bring their illumination into play where needed. The sound blimp encasing the camera is a bulk in itself that is an obstacle to lighting. and in moving shots it is a shadow-maker. Thus, many moving scenes cannot entirely be pre-lit because of shadows cast by the equipment. Until the precise moment shadows are clear, offending lights remain out. They are then brought on, and dimmed out after they have fulfilled their use.
With color taking over more and more as the preferred photographic medium for both theatrical and television filming, the role of the director of photography has become even more important. He has had to adapt his camera techniques and lighting methods to keep abreast of the requirements of production in color on an industry-wide scale. He is being aided, of course, by the development of faster and better color emulsions, advanced laboratory processes and innovations in camera, lens and lighting equipment. But in the end, it is his own individual creativity that is the most important determinant of the artistic result.
[ continued on page 3 ] © 1999 ASC