K I LL I NG EVE | DRAMA
when you get there and you’ve managed it that it becomes the most attractive part of the lighting. It’s easy to approach lighting thinking that it’s all about that beam of sunlight in the background or it’s that lovely strong light that’s hitting the back of someone’s head or whatever. Sometimes that might be the case – obviously that all depends on the dramatic intention – but it’s surprisingly often that it’s actually this much more subtle ambient light, which I think sometimes people just don’t care for as much or know how to work with as much. “What I’m talking about is not losing that ambience. By placing a negative fill, you’re cancelling anything that’s bouncing off surfaces. And, of course, part of our job as DOP is managing the light that you’re working with – it’s not always creating it from scratch in a studio situation. You’re very often managing what’s available to you and making the best of it. If you’re
SEPTEMBER 2020 | DEF I N I T ION 37
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