THE LAST OF US PRODUCTION.
“Overhead, I wanted a moonlight room tone – a large and controllable soft source giving me a little bit less contrast when I needed more ambient detail. “As we were shooting night exteriors in Calgary, where winds often get above 70mph, balloons and textiles weren’t an option; gaffer Paul Slatter and I came up with a large-scale solution: four construction cranes each holding a grid of 100x6ft bicolour LED tube lights, in
GONE WITH THE WIND Well-articulated lighting structures support a walk-and-talk that ends in deadly circumstances (left)
45. APRIL 2023
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