 A deep-focus master shot, with a "noir" feel. Foreground, middle and background are all in focus using a split-diopter, while moody lighting sets the tone. Actors in the middle-ground are lit with 1K's fed through a dimmer-board and rigged to a speed-rail truss attached to the ceiling beams.  Hard light creates defined shadows and high contrast, giving the feeling of darkness while all the important elements of the scene are still visible. In true "noir" style, Venetian blinds patterns break up the background while soft light is used to cast specular highlights on dark wood and leather.  Since the room is paneled with dark wood, light must be used selectively to accent areas that would otherwise desappear in the darkness. Many lighting units are used, however the effect must appear natural, with graceful transitions between highlights and shadow.  This deep-focus shot is accomplished by using a 16mm lens and careful staging. Since everything is in focus, great care must be applied with lighting. I drew from my experience shooting furniture commercials to meticulously place specular highlights and bring out detail in wood and leather surfaces.  This powerful two-shot is achieved with a split-diopter. Both faces are in focus, as well as the framed picture on the mantle, which is accented with an elypsoidal spotlight.  A classic noir high-angle. Light accents are placed throughout the frame to bring out detail, a bold pattern on the floor is used for hightened drama. Even though the environment appears dark, notice how the texture and folds of the men's wardrobe is clearly defined by selectively-applied soft fill light.  In this intense low-angle, architectural elements are used to enhance the drama. The ceiling lines converging behind the villain's head increase the dynamic tension of the scene. Dramatic lighting is used on the faces while precisely-focused light brings out the texture in wardrobe and shapes set pieces. 
Another typical "noir" shot is the "mirror shot". The action is staged in-depth and a mirror is used to cast a reflection of the protagonist, adding an unsettling visual layer to the scene. Lighting is also utilized to create separation between foreground, middle and background.  A day-for-night shot in the attic. Although the scene was filmed during the day, window-tenting and careful lighting give the illusion of night time. 
This shot really showcases the deep-focus effect of the split-diopter. The lamp in the foreground, the Dr. Watson look-alike and the "ghost" are all in focus.  The film was shot day-for-night on location in an historic home. Large blackout tents were erected outside the windows and rain machines were deployed. A speed-rail truss was secured to the ceiling beams in order to keep the main lights off the floor, while small units were hidden behind furniture. Even though the scene appears dark, careful lighting brings out detail in furniture, brick wall, carpet and wood paneling.  Although this scene is supposedly lit by firelight and moonlight only, a great number of small lighting units is utilized, while keeping the look natural.  A large number of small lights were used in this scene to achieve a dramatic "noir" look. See lighting notes below for details. * * * ANATOMY OF MARCO'S 'NOIR' LIGHTING  A : a 10K outside the window provides hard 'moonlight' backlighting the rain and projecting a Venetian blind pattern on the back wall. B: a 1K elypsoidal unit brings out the wood paneling texture - C: a truss-mounted 1K back-lights the old man's head - D: a practical light on a dimmer E: a Kino-Flo provides a soft key for the lady - F: a 'Tweenie' provides an edge for the lady's face - G: a practical lamp on a dimmer H: a red-gelled 1K on a flicker-box keys the old man - I: a Kino-Flo adds a glow to the credenza - J: a diffused 'Tweenie' edges the woman clothing K: a 1K elypsoidal highlights the door - L: a 'Tweenie' rakes the wood paneling outside the door - M: a 4' Kino-Flo adds a specular highlight on the wall N: a 2' Kino brings out the wall's texture - O: a softened 'Tweenie' edges the man's clothing - P: a 1K 'floor-wash' adds separation between foreground and background. Q: a 2' Kino brings out the texture of the side-table and the adds specular highlights on the drinking glasses. R: a truss-mounted 1K provides an edge on the old man's face. |