Soderbergh on Mood Lighting

[GlennChan]

I apologize if this has already been posted.

http://www.nytimes.com/interactive/2009/05/22/movies/20090522-soderbergh-audioss/index.html


Steven Soderbergh discusses how using the high definition RED camera affected his cinematography in “The Girlfriend Experience.”

[Gavin Greenwalt]

With such great looking locations who needs lighting!

I want that apartment. Is prostitution really absolutely necessary? :)

[jimhare]

Neat! Yes, been posted before but nice to see again. Great concept well executed. Amazing what you can do with talent, time and some resources.

I imagine this movie came to life in the grading suite as it's not easy to make available light look that good in camera.

Anyone know anything about the post process on this film?

[D Fuller]

I imagine this movie came to life in the grading suite as it's not easy to make available light look that good in camera.


I suspect you are right. But stills photogs have been using available light to beautiful effect forever. I've always wondered why they can and we can't. I've thought it comes down to blocking--if I want to put the actors where I want, i have to make sure there's light that I like there. But maybe that's just convention.

[William Barber]

I suspect you are right. But stills photogs have been using available light to beautiful effect forever. I've always wondered why they can and we can't. I've thought it comes down to blocking--if I want to put the actors where I want, i have to make sure there's light that I like there. But maybe that's just convention.

Time constraints is another thing. A photographer can wait for the light to be just right.

[Gavin Greenwalt]

Time constraints is another thing. A photographer can wait for the light to be just right.

True and in photography "right" is often pretty subjective. If the story says it's stormy-- beautiful sunset isn't going to do you any good. Photography can be far more opprotunistic. There's beauty in a storm and a sunset but if the story needs storm.. you need a storm.

[Craig W. Bickerstaff]

I love how Soderberg does something that indie filmmakers do on a regular basis and suddenly its a big thing.
With the exception of having access to Panavision anamorphic lenses of course.