“Three particular locations typify [Director of Photography BJÖRN CHARPENTIER, SBC]‘s approach to lighting. When Skiles and his handlers first meet the terrorists to negotiate a prisoner swap, it’s a daytime scene at a bombed-out hair salon on the city’s outskirts, with Syrian mortars exploding in the distance. “This was the location that used the most lighting outside the walls,” Charpentier notes. There being no electricity in the terrorists’ hideaway, he motivated light through an open door and a small curtained window. Two 6K HMIs pushed light in through the doorway and the window, while a 4K bounced through the window of the next room. On the ceiling were two Arri SkyPanels augmenting light on the principal actors. “We added narrow light grids to the SkyPanels, so the light was very directional, without much spill,” the cinematographer says. “We added some ambient smoke as well.”
Read the full article from ASC Magazine here.