For assignment nine of 20: Three-Point Lighting. Three-point lighting is the foundation upon which all-artificial film lighting is based. Your assignment here is to develop a scenario that utilizes three-point lighting technique (key, fill, back.) You should concentrate on one character in one interior location. Control the contrast ratio from shot to shot.
For this prompt I originally wanted to film a story that wasn’t so personal. I wanted to tell the story of a detective finding out the unlikely truth about a crime scene, which had a problem so perplexing it would have taken her entire headspace and isolating herself within it to figure it out.
I brought this idea to my crew with the caveat that I hadn’t worked out the details of the crime yet or the logistics of bringing my furniture from up in Gramercy all the way down to Greenwich Village and back, and my crewmate, Rhea, told me mid-sentence:
“Do something about yourself. Don’t put it on Lola or some model. Put it on you.”
So I wrote out the pain I was feeling into something constructive, while revisiting the visual idea at the core of my previous idea. I was still attached to the device. I feel like my best films and ideas stem from a single clear image or style I’m trying to pursue. It's as if I have a suitcase for my story. I just actually have to fill it with substance. In doing so, I think that my choice to set this film in a boundless, empty void takes on real meaning.
All NYU Tisch Sight and Sound projects shot Fall 2018 make use of the Canon C200, as well as a kit of Zeiss Distagon prime lenses (21mm f/2.8, 35mm f/2, 85mm f/2).
This project was cut and delivered using Adobe Premiere Pro CC 2018 and After Effects CC.