Only was a problem in the wide shot though where I simply could not pump any more light into that room. My day exterior scene is hot and glowing, but the night interior has walls that go jet black in some shots. ![]() Footage came out extremely high con, often highlights somewhat hot but shadows going black. I think I made everything as difficult for myself as possible on Day One. And we had an 18-hour first day, which sucked. It was a nightmare lighting a small night interior for 80 ASA at T/4.5, using 1K's and 2K's with half-blue correction (for a golden look.) Roasted the child actor I think the room was well over 100 degrees all day. Rated the stock at 80 ASA and used a 1/2 ProMist on everything. 90mm slant-focus anamorphic lens (T/4.5). Used Kodak Ektachrome 100D (5285) cross-processed. He also wanted that fuzzy-focus look of the tilt-focus lenses used in "In the Cut" (in fact, our film has three main influences: "The Professional", "In the Cut", and "In the Mood for Love", which are strange to combine!) First proposed doing a skip-bleach process but the director said he wanted them to be color-saturated, so I suggested cross-processed reversal instead. Some with wide-angle lenses (35mm and 40mm Primo anamorphic) and some with a 400mm anamorphic (Canon). (We didn't control the trains so it was a bit tricky timing ourselves to when the trains would arrive.) Shot all of that on Fuji F-64D. The week before, all I did was some shots of buildings, cars driving by, and one of our actors (Cuba Gooding Jr.) getting off and onto trains out in the suburb stations. ![]() #KEYLIGHT 1.2 GRAINY MOVIE#After shooting some B-roll type material for a two days, we finally started shooting the movie for real.
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