Ben's (director) initial instructions for inspiration for me in terms of the look for the film was the Italian painter Caravaggio. Caravaggio's post renaissance and mannerist paintings have a harsh reality to them and feature dramatic lighting that give weight to the often intense drama depicted on the canvas.
This dramatic lighting scheme should help the dialogue and exposition light script in creating drama and effect in the situation the characters are placed in. The film, being more about gaining the feeling and weight of the specific situation the character is in, will benefit highly from a lighting scheme similar to the ones in Caravaggio's paintings to help create the intended atmosphere.
Caravaggio uses a chiaroscuro technique of tenebrism, a technique with which he is credited with inventing, where paintings are lit with often only one extreme light source, generally out of sight. This creates extreme contrasts between light and dark, exposing figures' every contour resulting in a strong atmosphere and heightened drama. It is for these results that Ben would like to adopt the technique into the film.
I will go about acheving this by using a lighting scheme that heavily incorporates 'cross lighting', because I will be working from pitch black in the studio I simply won't be able to use a single source lighting set-up for a variety of reasons. The shadows created on set would be too harsh and would be softened and filled from another angle as well as being too time consuming to track for continuity due to the amount of time we have in the studio. Also due to the fact there will sequences where two characters will be in the scene, a set-up that allowed for a generic background set lighting for many shots would help to establish a look for the room as well as be time saving when adjusting specific subject lighting when changing camera angle.
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