This post focuses on some of the lighting setups in Spectre, with comments by cinematographer Hoyte van Hoytema, FSF, NSC, and his gaffer David Smith. This post complements my previous interview with director Sam Mendes, and expands on my article in the November issue of American Cinematographer.
Sourced through Scoop.it from: www.theasc.com
There were 50 space lights in the soft box. We used an electric tackle to take it up and down. We added a silk that had a ¼ CTO dyed into it to warm the whole thing up. Everything is on dimmers, and all the sources are brought down to 2600 Kelvin either by dimming them or gelling them. The 2Ks in the center are shooting down to highlight the areas around the practicals. We put Par bars all around just to have the option to pick out columns and people, to be able to put accents everywhere.