Diffusion and white lights often simulate the outdoors (or something like it) in Kubrick’s color films. Eyes Wide Shut favored deep blue translights as the film took place mostly at night, and in a dreamlike world. But in general, this is how Kubrick’s films are lit, even to the point of favoring the solid blown out lights as sources and even backdrops for entire scenes, relying minimally on fresnels (Which are apparent in Clockwork Orange and Shining) and bounce (Likely some in Full Metal Jacket).

The importance is in the approach- Kubrick did not crowd his sets with every light in the van, he flooded them from single bold sources and filled in the blanks. Yielding an easier, cheaper shoot and a more realistic, artful film, this is a superior methodology in every possible respect to modern Hollywood’s excessive and ugly standard. Kubrick did not fear contrast. He created negatives that couldn’t be ‘fixed’ to dim the lights or enhance the darks. Because he knew what he was doing, he shot the only negative he needed without concern for post-alterations.

This is practically unheard of in the digital era, where zebra-mode obsessed videographers use flags and scrims ad nauseam to dim any shine, reflection or god forbid onscreen light so that detail is not lost, expecting that the footage will be altered drastically in post. This is a result of fear and cowardice, not good film making.

And don’t even get me started on white balance. I’ve watched men light a sunset then balance the orange away because it’s ‘proper’ procedure. Fuck that shit.

5600K is white to our eyes. Everything else is a lie.

@8 months ago with 65 notes
#kubrick #Stanley Kubrick #a clockwork orange #2001 a space odyssey #barry lyndon 
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  12. siryl said: Doesn’t the top one take place on the Moon, meaning it’s not supposed to be daylight at all?
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