robert richardson: jfk, natural born killers, dp style light

P

PIMP

Well-known member
I am trying to light a scene in the style of Robert Richardson. In my research it appears he uses par cans to create the overhead halo look. In the opinion of the forum users here. What would you suggest to achieve this look? I noticed coming out of my movie theater halogen bulbs create that effect.

Thanks in advance
 
you talking about the blown out top light look?

naturalbornkillers.jpg


yea top light with alot of fill will get you that look.
 
PARs and fresnels (or Kinos or just about any source) above and behind the actors, straight back or to the side, give you that halo or rim and can light the hair, neck, side of the face, cheeks and shoulders, one or in any combination, as well.

It's a very routine thing to do but it often looks "lit" and "Hollywood" unless there is a bit of plausible motivation for that lighting, such as ceiling lights or some other source that can be seen in a part of the scene. Not that people care as much about motivation as DPs and gaffers, usually. :grin:

Then, on other hand, you can make such lighting your personal conceit and not worry a bit about explaining why it's so bright or green or blue or whatever -- the CSI Miami look. If you like the look and others will too, do it.
 
Last edited:
slondon said:
It's a very routine thing to do but it often looks "lit" and "Hollywood" unless there is a bit of plausible motivation for that lighting, such as ceiling lights or some other source that can be seen in a part of the scene. Not that people care as much about motivation as DPs and gaffers, usually. :grin:
Click to expand...

It's funny that you say this because bob richardson is the one guy who often times just does things for the sake of the scene and forgets about motivation.

Here's an excerpt from an article about Inglorious Bastards that was in American Cinematographer:

For example, the look of the opening scene in the farmhouse is defined by hot, hard daylight that shines down onto a table, bouncing to illuminate the two characters. Although one can imagine a skylight above the table, there is no clear motivation for the farmhouse lighting. "I don't believe there always needs to be a motivation for a light," says Richardson. "Sometimes you have to light for what you feel the sequence is."

He explains that he avoided a source-y approach to the scene (i.e., having the main source come through the windows) in part because this "would have put a lot more light on the background. Here you feel the daylight on their feces but the background is relatively dark. The room was tiny and the source was isolating them in that small space." He points out that the table bounce is also adapted to the action of the scene: Landa fills out his paperwork, while the farmer has a tendency' to look down. "I felt it was important to have light in their eyes and to always have that bright spot available to the iris if so desired," he says. The toplight source also gave the actors the opportunity to play with the light by moving in and out of the shadows, and it enabled Tarantino's camera staging, which involved several wide-angle dolly moves around the table. "When the camera started on one side and ended on the other, there were very few places to get a light in," Richardson observes.
Click to expand...
 
Nice quotes. I remember the article.

I'm probably the guy least interested in motivation. I think about it, but the geography of a room is rarely established, the audience doesn't notice and rarely keeps track of it, and what should be done is to supply a source where it's needed. I tell everyone who wonders out loud why I placed a light somewhere there wasn't one of that great quote:


Actor, Sean Astin: "Where is the light coming from if it's meant to be completely dark?"
DP: "Same place as the music" --Andrew Lesnie, ASC (Lord of the Rings)​
 
slondon said:
Nice quotes. I remember the article.

Actor, Sean Astin: "Where is the light coming from if it's meant to be completely dark?"
DP: "Same place as the music" --Andrew Lesnie, ASC (Lord of the Rings)​
Click to expand...

Best lighting quote I've seen in a long time....priceless, but accurate :)
 
Richardson's top top lighting is almost his signature. I love his work. I have noted that there is a bit of glow to most of his work so I would he also adds a bit of diffusion to the lens. I don't know what he uses, but he does it well.

Has anyone ever seen his work on "Snow Falling on Cedars", OMG, it is outstanding.
 
You must log in or register to reply here.
Back
Top