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  1. #1 seven cinematography 
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    Hello,

    I was rewatching seven (its been a while). But how do you reckon the following was lit? What light is hitting morgan freeman in the face, its not from the practicals, but it is flagged off so good that you dont see any spill anywhere on the walls. I did something similar on the spot a year ago, was just run and gun. But this looks 10000 times better then what I came up with.
    It looks like 2 practicals, and 1 hard light(or is it a soft light) hitting his face flagged off properly, and then another soft china lantern or something lighting up the room?

    Especially interested in the face light.


    Thanks,
    Last edited by Joe Cage; 11-03-2020 at 12:00 PM.
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  2. #2  
    Senior Member Bob Gundu's Avatar
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    Its no surprise that Fincher uses Kino Flos a lot.

    https://ascmag.com/articles/flashback-seven-1995
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  3. #3  
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    Quote Originally Posted by Bob Gundu View Post
    Its no surprise that Fincher uses Kino Flos a lot.

    https://ascmag.com/articles/flashback-seven-1995
    Do you think it was a kino lighting this face. But wrapped in a lot black wrap then? or a curtain? As there is no spill, and kinoflo's spill allover due to its size.
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  4. #4  
    Senior Member Bob Gundu's Avatar
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    Quote Originally Posted by Joe Cage View Post
    Do you think it was a kino lighting this face. But wrapped in a lot black wrap then? or a curtain? As there is no spill, and kinoflo's spill allover due to its size.
    Perhaps, or any small fresnel snooted with black wrap or a leko.
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  5. #5  
    Se7en is my favorite movie, and I loved the look of it as well. Just to add to this, there is this excerpt from the book "Conversations with Darius Khondji"

    https://ascmag.com/articles/book-exc...darius-khondji

    And some relevant quotes:

    "Well, if you look at the interior scenes ó for instance, the scenes shot inside the car ó you can see that there are usually very bright exteriors and very dark interiors. That comes from Frankís photos. What we did on Se7en was underexpose many of the interiors by two stops on a film negative that was quite contrasty. And underexposing by two stops really made the exteriors come alive, whether in the desert or the city, so that the brightness is always coming from the outside. In many of the interior scenes, thereís hardly any light except for a few fluorescents, with reflections running to your eye through all the shiny surfaces. If you look at Frankís photos, such as the one he shot in a bar in Las Vegas, you can see the same thing. "

    "Combining the warm light of Chinese lanterns with the colder light of Kino Flos was essential to the look of Se7en, and in a way they represented a crossroads for me: Kino Flos were the lights of the future, while Chinese lanterns were the lights of the past and present... Itís funny, because when youíre working on a movie like that, you donít really know what itís going to look like or who itís going to interest. I mean, you see the dailies and parts of the edit, so you have a certain idea of the final result, but youíre clueless that it might be a hit. Youíre just following a path ó and you donít even know if itís the right path. You have no idea if itís going to be influential, or anythingÖ Even recently, I was watching the first season of True Detective and it reminded me of what we were trying to do back on Se7en. But when youíre shooting, you never think about those things. Itís only after the shoot that the film takes on a life of its own, almost as if you were never involved in it at all."
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    What an insightful quote from Darius. Thanks for sharing.
    Far and away the best prize that life has to offer is the chance to work hard at work worth doing.
    - Theodore Roosevelt

    Justin McAleece
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  7. #7  
    Senior Member Blair S. Paulsen's Avatar
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    Just rewatched Se7en last week. Really noticed how Darius played textures, often with raking light angles and dark surrounds. I thought it reflected the importance of details, which was also a story beat in Morgan Freeman's veteran detective approach to investigation vs the facile ineptitude of Brad Pitt's bull in a china shop modality.

    Also noticed how pervasive the rainy exteriors were and the unrelenting portrait of decaying, vermin infested urban blight. Fincher and Khondji essentially held our faces to the dark, rancid atmosphere in which the characters were trapped. Huge props to all involved.

    Cheers - #19
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    Senior Member Christopher S Johnson's Avatar
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    To answer your actual question you can see the light fall off on his shirt, and the real hint is the tip of the pillow to the right of his head (his left), it's a hard light source flagged really tightly on him. There is a 2nd hard light source coming toward camera across the bed on the left. There is also a vertical reflection on the lamp to the right, but that could just be the shape of the lamp and the source on his face.
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  9. #9  
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    Quote Originally Posted by Christopher S Johnson View Post
    To answer your actual question you can see the light fall off on his shirt, and the real hint is the tip of the pillow to the right of his head (his left), it's a hard light source flagged really tightly on him. There is a 2nd hard light source coming toward camera across the bed on the left. There is also a vertical reflection on the lamp to the right, but that could just be the shape of the lamp and the source on his face.
    Thanks, what kind of hard light do you think it is? Looks like it could be very valuable for my set.
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  10. #10  
    Senior Member Bob Gundu's Avatar
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    Quote Originally Posted by Joe Cage View Post
    Thanks, what kind of hard light do you think it is? Looks like it could be very valuable for my set.
    A set of Dedo lights are always handy.
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