Here’s a simple set up I photographed in the fall of 2019 on a south-facing hillside overlooking the 101 Freeway and Vine Street in Hollywood.  It was a night\exterior that was to open with a wide shot showing the aftermath of an automobile accident.  A variety of issues conspired against the use of a … Continue reading “LIGHTING DIAGRAM #20 – TOMMY (CBS-TV)”

            One of the greatest producer\directors in history – indeed, a founder of the motion picture industry – Cecil B. DeMille had a soft spot in his heart for the cinematographers who delivered his vision.  His following testimonial is inscribed on a plaque at the ASC Clubhouse and dates to sometime in the early 1930’s.  … Continue reading “A LOVE LETTER FROM CECIL B. DeMILLE”

            Photographed by yours truly…             On the surface, the simplest of scenes: two people sitting across a table inside a police interrogation room.  But complicating matters is the fact that our actress – Yael Grobglas – is playing both roles (Petra Solano and her evil twin sister Anezka).  This necessitated a generous allowance of … Continue reading “LIGHTING DIAGRAM #19 – JANE THE VIRGIN (The CW)”

            Barbara Stanwyck on Double Indemnity (1944; Billy Wilder\John Seitz, ASC):             “When I mention ‘atmosphere’ in Double Indemnity – that gloomy, horrible house the Dietrichsons lived in, the slit of sunlight slicing through those heavy drapes – you could smell that death was in the air, you understood why she had to get out … Continue reading “THE ABOMINATION”

Call sheet from the last day of shooting…           In the final installment of the Presumed Innocent lighting diagram series: Harrison Ford and Bonnie Bedelia: husband and wife share a tough moment – the climax of the film, actually.  (find it at 01:54:50)             Everything here is heavily supported by Willis’ lighting…or lack thereof.  It’s … Continue reading “LIGHTING DIAGRAM #18 – PRESUMED INNOCENT”

            (This post previously appeared in a recent issue of British Cinematographer)             I grew up in New York City – in one of the outer boroughs, to be exact – and believe me, I was Brooklyn when Brooklyn wasn’t cool.  The Borough of Churches was the fourth largest city in the U.S. for most … Continue reading “NEW YORK IN THE 1970’S”

            Harrison Ford’s character has been cleared of the murder charge but there’s still a shocking surprise left for him, as revealed by his cop buddy John Spencer on a ferry ride home (find it at 1:51:09).             This scene used genuine, honest-to-goodness, old-school rear projection; it was brought aboard by the expert Bill Hansard, … Continue reading “LIGHTING DIAGRAM #17 – PRESUMED INNOCENT”

            I believe strongly in the vital, indispensable role of the camera operator.  Here are a few reasons why.             Camera operating is a full-time, full-attention job.             Maintaining composition, enforcing eyelines, executing smooth moves, watching focus, noting errant shadows and objects, flagging anomalies in hair, makeup, costume and set dressing – all of these … Continue reading “IN PRAISE OF THE CAMERA OPERATOR”

            Murder suspect Rusty Sabich conspires with an ally; his wife overhears and they discuss the dire situation (locate this clip at the 1:15:42 mark).             The camera is static and there’s hardly any movement within the frame – but the lighting of these shots once again reflect an admirable simplicity.  The only item of … Continue reading “LIGHTING DIAGRAM #16 – PRESUMED INNOCENT”

A Hidden History of Film Style: Cinematographers, Directors, and the             Collaborative Process by Christopher Beach 2015, University of California Press             Beach was one of two Film Scholars named by the Academy of Motion Picture Arts and Sciences in 2013.  He does perhaps the best job to date of poking holes in the theory … Continue reading “READ THIS BOOK #2”