It’s simple, cheap, and will get you one of the iconic Deakins shots: Todd Blankenship, from Shutterstock Tutorials, made one of the best DIY builds of this rig yet. The light construction is simple - it’s just a wooden circle with tungsten bulbs rigged all the way around. One of the most famous lights in Hollywood, Deakins loves busting out varieties of this light across all sizes and strengths for his films. Rubidium Wu, over at the Crimson Engine, has made a video breaking down exactly how he does it and how you can, too: With the cove light, Deakins wraps 180 degree unbleached muslin, creating a giant diffused source angled down toward the actors. There are two ways we’re going to discuss today - the cove light and the ring light. On top of framing his subjects in a particular way, there’s also consistency with how Deakins chooses to light these compositions. This close-up allows the audience insight into each character’s emotional response to the situation at hand. Even farther back, we can still see the other posters on the cell wall, which helped draw attention away from the Rita Hayworth poster that was secretly hiding an escape route. The final medium shot from The Shawshank Redemption shows the escape route from the prison in the foreground, the shock of the warden, and the background reactions of the officer and Red. Notice the balance of light in No Country for Old Men, where Ed Tom Bell is perfectly framed by the blue hues that contrast the other tungsten lights in the hotel. In the image from True Grit, we see that Rooster Cogburn is totally alone during his interrogation. Pay attention to the little background details, as well. Their body language offers so much more to the scene. Unlike a close-up of just their face, you can see each of their shoulders slump in despair. Note how much information you get from the characters’ body. The above shots were chosen for a specific reason. In this scene, the background is just at important to the moment as the looks on the characters’ faces.
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