American Cinematographer - May 2021 - 33
AMERICAN CINEMATOGRAPHER ASCMAG.COM
the same plexi key as the skin cream. There, he over the lens, turning the circular light into an
" Ring lights are commercially available
could start with a shot of the product, then tip annular one - a giant 6'-diameter ring light.
on the market, but they're never big enough, "
up and rack focus to Belt in the background. He
also introduced a piece of pale-lavender chiffon
material just in front of the lens, off to the left
side, providing some out-of-focus texture that
an assistant skillfully pulled out of the frame
to clear the actor's face as Moss settled into her
composition. Moss explained that he had been
carrying these small pieces of chiffon with him
for years, and would incorporate them from
time to time as a foreground element to add a
" The background is very
important when you're
shooting faces - it can change
the atmosphere completely. "
bit of depth and dimension to the frame.
Moss then switched to more traditional
beauty lighting as he moved away from the
product to concentrate on the actor. He started
with a large piece of 1000H tracing paper in an
8'x8' frame and placed that about 6' in front of
Belt, who was sitting on a chair. He then moved
the four LiteMat panels behind the diffusion
as the actor's key light, and had his team cut a
rectangular hole in the center. Shooting on the
longer end of a Panavision 70-200mm Nova
T3.1 zoom - on a Panavision Millennium
DXL2 - Moss operated with the camera situated behind the diffusion, shooting through the
hole, with enough vertical field of view to tilt
from the actor's shoulders to her eyes.
Noting the convex shape of the human eye,
the cinematographer pointed out that the 8'x8'
frame was reflecting as a rounded highlight
right in the center of Belt's pupils. Feeling this
needed to be adjusted, he altered the large diffusion to create a ring-shaped source. He did
this by adding two sheets of 4'x8' black foamcore that had each been pre-cut into 3'-diameter semi-circles. When placed at the top and
bottom of the 8' frame, they formed a 6'-diameter white circle in the middle of the frame,
with the camera still poking through the center.
Moss then added an additional central piece of
black foamcore about 2½' in diameter right
MAY 2021 / 33
p.28-35 Commercial Cinematography - Moss V3 DONE.indd 33
4/5/21 11:25 PM
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American Cinematographer - May 2021
Table of Contents for the Digital Edition of American Cinematographer - May 2021
Contents
American Cinematographer - May 2021 - Cover1
American Cinematographer - May 2021 - Cover2
American Cinematographer - May 2021 - 1
American Cinematographer - May 2021 - Contents
American Cinematographer - May 2021 - 3
American Cinematographer - May 2021 - 4
American Cinematographer - May 2021 - 5
American Cinematographer - May 2021 - 6
American Cinematographer - May 2021 - 7
American Cinematographer - May 2021 - 8
American Cinematographer - May 2021 - 9
American Cinematographer - May 2021 - 10
American Cinematographer - May 2021 - 11
American Cinematographer - May 2021 - 12
American Cinematographer - May 2021 - 13
American Cinematographer - May 2021 - 14
American Cinematographer - May 2021 - 15
American Cinematographer - May 2021 - 16
American Cinematographer - May 2021 - 17
American Cinematographer - May 2021 - 18
American Cinematographer - May 2021 - 19
American Cinematographer - May 2021 - 20
American Cinematographer - May 2021 - 21
American Cinematographer - May 2021 - 22
American Cinematographer - May 2021 - 23
American Cinematographer - May 2021 - 24
American Cinematographer - May 2021 - 25
American Cinematographer - May 2021 - 26
American Cinematographer - May 2021 - 27
American Cinematographer - May 2021 - 28
American Cinematographer - May 2021 - 29
American Cinematographer - May 2021 - 30
American Cinematographer - May 2021 - 31
American Cinematographer - May 2021 - 32
American Cinematographer - May 2021 - 33
American Cinematographer - May 2021 - 34
American Cinematographer - May 2021 - 35
American Cinematographer - May 2021 - 36
American Cinematographer - May 2021 - 37
American Cinematographer - May 2021 - 38
American Cinematographer - May 2021 - 39
American Cinematographer - May 2021 - 40
American Cinematographer - May 2021 - 41
American Cinematographer - May 2021 - 42
American Cinematographer - May 2021 - 43
American Cinematographer - May 2021 - 44
American Cinematographer - May 2021 - 45
American Cinematographer - May 2021 - 46
American Cinematographer - May 2021 - 47
American Cinematographer - May 2021 - 48
American Cinematographer - May 2021 - 49
American Cinematographer - May 2021 - 50
American Cinematographer - May 2021 - 51
American Cinematographer - May 2021 - 52
American Cinematographer - May 2021 - 53
American Cinematographer - May 2021 - 54
American Cinematographer - May 2021 - 55
American Cinematographer - May 2021 - 56
American Cinematographer - May 2021 - 57
American Cinematographer - May 2021 - 58
American Cinematographer - May 2021 - 59
American Cinematographer - May 2021 - 60
American Cinematographer - May 2021 - 61
American Cinematographer - May 2021 - 62
American Cinematographer - May 2021 - 63
American Cinematographer - May 2021 - 64
American Cinematographer - May 2021 - 65
American Cinematographer - May 2021 - 66
American Cinematographer - May 2021 - 67
American Cinematographer - May 2021 - 68
American Cinematographer - May 2021 - 69
American Cinematographer - May 2021 - 70
American Cinematographer - May 2021 - 71
American Cinematographer - May 2021 - 72
American Cinematographer - May 2021 - Cover3
American Cinematographer - May 2021 - Cover4
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