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These days we think very carefully about what we do and if you look at the blue and the green screens they are lit with Kino Flo tubes which are a godsend because they take very little energy and you have the purest light you could possibly get. Yes you can do it with the tungsten lights and gel them but it’s a jerk off. This is how to do it. You do it the right way. Then you will notice we also have a Celeb light which is the new generation of LED lights, which have a most beautiful quality, and that’s doing a lot of back lighting of the set. There are also pinpricks there with things being picked out with Dedo lights, I love Dedos and huge fan of them. The Dedo 650 is a light that I have and I helped a little bit with the design of and so as a light I use it a lot and is one of my favorite lights and everyone knows I am a bit of a nutcase when it comes to Dedo 650’s! On the set the 650 is being used on the left hand side right at the back picking up a person sitting at a table. There is also a window effect that Pieter de Hoock did on the right hand side, as a painter we have no idea where this light is coming from but nonetheless to recreate the painting we have lit that with a Dedo using pieces of tape and it’s working very well. For the front part of the set we are lighting through bleached muslin and diffusion paper to get that very soft look and that’s with a 10K. How do you feel about ﬁlm or digital? It’s been very interesting shooting the two formats and when we look at what the digital camera gives you and the ﬁlm camera it’s going to be very interesting side by side in the cinema. The question of ﬁlm or digital is a very difﬁcult thing to explain to anybody and you can get you can get yourself into such ﬁghts about it which I don’t want to do. I’m very happy in either medium it doesn’t bother me too much. But of course I love ﬁlm as it is very close to me. You can take a piece of digital content and turn it into whatever you want but there’s still a lot of people that will say ﬁlm gives you a lot more. I’m not a physics person, all I know is what I see, and what I see is there’s room for both. Digital is wonderful and of course the last Oscar was won by Emmanuel Lubezki using an Arri Alexa 65 camera. It’s mind blowing if you see the information the camera can give, it can see more than your eye can see and I think it’s the most amazing camera I’ve ever seen. It’s amazing. But I say to my students if you walk into a room and you’ve got diffused light coming into that room and it’s about six o’clock in the afternoon and the director says keep it looking like that for two weeks, twenty four hours a day…well that’s what a cinematographer has to work out. In a nutshell what do the students get out of an exercise like this? They are getting the attention to detail and the discipline of a ﬁlm set which is, as you saw, being run as a professional ﬁlm set. We have a wonderful lady Elaine here today who is out every day in the professional world and all the tutors on that set are people from the industry, they’re not nerds, they are people who do it everyday. You can see the atmosphere here is very light, and there’s no such thing as a silly question so that’s what they get out of it. If Pieter de Hooch was to walk in what do you think he would say? I think he’d be very impressed. KitPlus would like to thank Stuart, the team of tutors and the students at the NFTS for allowing us such privileged access to the set and for taking the time to speak to us. KITPLUS - THE TV-BAY MAGAZINE: ISSUE 112 APRIL 2016 | 65