Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. I have to say that lighting is not just about the amount of light you need to get an exposure. The reason for using extra light is not because I could not get an exposure, which if I pushed the film and used triple wick candles would certainly have been possible. The lighting used in Barry Lyndon was low-key. The goal was to make it look as real as possible. Not every scene can justify so many candlesticks with an array of such large flames. Currently I'm thinking of creating some makeshift springballs from bedsheets and lighting using dedos to assist the candlelight. I would much prefer to do it this way as this was the method of the original work. You might set up a scene with the same number of double wick candles and see how much exposure you actually have. By the end of the evening there was wax about 3" deep on the tablecloth but we did manage to get an exposure! As you can see in some of the indoor images provided, there were several candles and other light sources used in order to achieve this (Image 1). Three had BNC mounts and one had Arri bayonet mount. The two actors with their backs to the camera have their heads lit from above and the walls at the rear are also lit I have discovered that the ceiling was covered with sheets of aluminium or aluminium whichever, National Trust who owned the locations insisted that the ceilings must be protected from candle smoke damage so had to be covered by the metal panels which in turn reflected candle light back down on the table and actors. The mix of color temperatures is interesting and opposite of what would happen in real life where sunlight would be warmer than skylight, but it gives the wide master shot a painterly effect since some painters often used cooler colors for the background surrounding the subject, like in some DaVinci's paintings (the second Virgin on the Rocks.). At 800 ASA you might expect a 3.2. The 0.7 lens and the lack of depth of field also added an overall softness to the image. The cinematographer even went so far as to adjust the paintings and set using old styles in order to restore the ancient plantation-look from that time frame. Kubrick spent a small fortune with Optex and Zeiss converting lenses for the production. Here in a 1976 AC article for Barry Lyndon: http://imgur.com/a/mkDGR», And a transcribed version of it: http://www.visual-memory.co.uk/sk/2001a/bl/page1.htm ». Just my two pence worth. .After reading all comments above I did a google search for "Barry Lyndon behind the scenes photos." I have often shot scenes that are 'candle lit', 'Kundun', 'The Assassination of Jesse James...', 'Mountains of the Moon', but I have seldom shot with a candle flame alone. The scene needs to be lit artificially as I wouldn't gain many marks by just using candlelight and bumping up ISO on the 5DMk3. Reconsidering, Kubrick's financiers pulled funding, and he turned his attention towards an adaptation of Anthony Burgess's 1962 novel A Clockwork Orange. Barry Lyndon (Stanley Kubrick, 1975). During pre-production, Sergei Bondarchuk and Dino De Laurentiis' Waterloo was released, and failed at the box office. The band was at a restaurant one evening having dinner and the director suggested we shoot. I've always liked the lighting of the duel in the barn at the end, with the uncorrected daylight rays of sunlight (probably from a carbon arc lamp) and the soft tungsten side light (probably MaxiBrutes through a large frame of diffusion.) After completing post production on 2001: A Space Odyssey, Kubrick resumed planning a film about Napoleon. The flames themselves were very bright. Change ), http://www.filmartpoint.com/wp-content/uploads/2011/08/Barry-Lyndon-Berenson-2.jpg. This movie took place before electricity was available. The indoor scenes that took place during the day used light from windows, like the scene where the money is being distributed at the end and she has a moment of longing for Barry (Image 2). Planar, Zeiss. Easy to test. I'm just saying that there was probably natural light but it wasn't very bright, so the sun rays are coming from a daylight-balanced carbon arc and the soft side light is tungsten, with the tungsten stock uncorrected by daylight either on camera or in timing, so the tungsten side light looks neutral but the daylight is blue-ish. But it was the 0.7 lenses that captured the moment. However, the effect was developed for a specific scene with a very specific look. ( Log Out / I imagine getting those blue rays of light in the background window slits would have been awful hard to get using natural light.
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