02/14/2026
A little more Astrid stills with BTS - š„š„ We shot with SuperSpeeds to get that shallow DOF Iām used to with stills lenses, with a more cinematic quality that didnāt take up too much space and weight for small spaces and primarily handheld operating. We needed to work fast, and being able to open up the aperture to T1.3 indoors and at night meant we could light more subtly, sometimes using more ambient light, bringing in more interesting colours being bounced around off surfaces and filling in shadows. The problem then can be creating enough contrast without bringing in a lot of neg and flagging - which would be too much time and space we didnāt have.
š”I would love to tweak forever and see how much I could control, but at the end of the day it doesnāt serve everyone to spend that much time lighting. Being able to step into a room and know how to achieve your vision (or get darn close) right aways is the goal! But you canāt always move a roof or a wall or a fixture to get it in just the right place, you have to work in real spaces with other departments and actors and blocking to pay attention to also.
Sometimes you get the perfect foggy night with a street lamp in the right placeš, but lots of times Iām just fighting with a white wallā¦or the reflection on the car hood, or the setting sunā¦but those are the best learning experiences for sure!
ššyou shooters have any tips on balancing your vision and desire to tweak with practical constraints, Iād love to hear em šš