![]() Some close shots were actually made after dark and lit using artificial sources. For these shots, I used just a little interior bounce from the floor in addition to the natural light.Īs I say, the room was part of a house built on location and weather played a big part in forcing us to schedule shots around the daylight. I also used an 18K HMI hard to mimic sunlight although some of the ‘sunlit’ shots, especially from after the shooting, were shot taking advantage of natural sunlight. Inside I bounced some 400-watt Jokers off muslin material which was mounted on 4′ x 4′ frames or just taped to the wall. Through the windows, I was bouncing natural sunlight or 18K HMIs off 12′ x 12′ Ultrabounce reflectors. We were after a sunny bucolic feel to the scene. Roger Deakins: The scene takes place in a house that was built on location and for that reason, much of what I was doing was controlling the natural light. When we were doing it, though, it filled me with dread, because I was concerned that the light would just burn out the passengers and it would end up looking silly. That shot of the passengers was inspired by one of Andrew’s photographic references, and I think it’s one of the most successful shots in the film. We could rely on our dummy lanterns when we were inside the train, but when we shot that exterior we had to really project the light out into the atmosphere. That light was provided by 175-watt mushroom bulbs mounted on 10-foot strips positioned all the way down the interior ceiling of the train carriage. When we finally show the train carriage, you can see the passengers amid this golden light coming through the windows. The robbers are supposed to look as if they’re being lit by the light at the front of the train, and I think we used a 10K bounced off a white card to create that sort of effect amid the steam. ![]() Roger Deakins: The only time we used conventional film lights in that sequence was when we were running with the outlaws down the hill toward the train. Without further ado, let’s start with scene number one SCENE 01 I decided to prepare this second part of The Assassination of Jesse James Lighting Breakdown with Cinematographer Roger Deakins to satisfy you. Hello Ci lovers! Many of you asked me for more lighting setups.
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