Speaking of HDR...

[Joseph Podlesnik]

Anyone venture a guess as to how cinematographer Gordon Willis pulled this off? Was a form of HDR used? Is this really the dynamic range of film? Was something used over the window?, etc...

 

[Fran Kuhn]

Anyone venture a guess as to how cinematographer Gordon Willis pulled this off? Was a form of HDR used? Is this really the dynamic range of film? Was something used over the window?, etc...

Hi Joseph,

Neutral Density (-2 or -3 stops) gels placed on the exterior of the windows to reduce the intensity of the daylight, bringing it closer to the light levels inside. Probably used 85 NDs (warming) to correct the daylight to tungsten.

-Fran

 

[Joseph Podlesnik]

Ahhh, ok, something used over the window. I figured as much. Thanks for the info, Fran.

 

[Kalani Prince]

or + 2 to 3 stop light inside : )

 

[Jonathan Stevenson]

or + 2 to 3 stop light inside : )

I'm betting a combo of both ND on the windows and added light inside

 

[Julio Quintana]

It was shot on an Epic prototype...

 

[Craig Ryan]

http://www.blu-ray.com/movies/screenshot.php?movieid=7734&position=1

There is the same shot off the Blu-ray restoration.

What's interesting to note about this shot, and shots like this in other films, is that in most cases, it seems the DP will allow the outside to overexpose a couple stops or more. And since it is also out of focus, it is less obvious that it's overexposed. There is just enough information out there to reveal the world outside the office but not so much that it becomes distracting. In this case, it could have been a creative choice as well.

The color is interesting too; the skin tones of both Michael and the people outside looks very close, yet on Michael's lapel and the book on the sill, you can see hints of cool light coming from the window. So there are subtle hints of cooler daylight mixed in.

http://www.blu-ray.com/movies/screenshot.php?movieid=654&position=8

This shot from No Country for Old Men is different. Everything is in focus, and the outside is probably a stop or too brighter, but not to the point of being overexposed; there's detail on the sidewalk.

They probably used overhead nets, or silks even, and inside light.

The interior is a tad more fluorescent green, but not too much. You probably head over to Roger Deakins' site ask how they lit that.

 

[Andrew Rieger]

Keep in mind that Gordon Willis used a great deal of underexposure in his indoor environments in the Godfather films. Thus, the exterior background will not be blown out. The uses of underexposure, with the other devices mentioned (ND's, color temp correction filters), contribute to the distinct look of the films.

Here is a good interview with willis: http://www.youtube.com/watch?v=AbchmWS5jIU