In this scene, the use of film photography to construct emotions is the biggest feature, which helps to depict the highlight moments of the emotional union of the two protagonists. The key subtext at this moment is to show how the god of fate was intoxicated by Ramona in their first interaction.
The dominant colors are slight purple-pink and warm yellow/orange. According to color psychology, "pink" implies romance and femininity, which adds a touch of fantasy to the picture and portrays these two women as almost surreal superheroes; at the same time, yellow and orange envelop them, especially in In Ramona, this transformed her into an idealized energetic and warm person, admired by Destiny.
As far as the hue is concerned, the saturation of this scene is very high, giving people sensibility and light. In this scene, Destiny just saw Ramona downstairs, and this was her first performance. In this scene, when Destiny asks to turn on the lights, Ramona wraps Destiny with her huge coast. Destiny fell in love with Ramona's halo and was basically intoxicated by her. With their saturated hues, the color selection plays their role well and helps the subject to burst from the screen, carrying a lot of vitality, energy and warmth, which are all produced between them.
The lighting helped photographer Todd Banhazl create this super static scene. The main light is a huge backlight-a 24K tungsten lamp with orange gel, placed on a condor with a large construction crane three blocks away. Because Destiny was so fascinated by Ramona, the tungsten lamp gave Ramona a huge and gorgeous warm halo. The fill light was placed on the right side of the camera, and a bouncer was facing their faces, bounced back the golden backlight seen on their skin. On the left side of the camera is a pink LED light (a digital Sputnik), which paints pink in their skin, highlights and jewelry; it also highlights the air conditioner in the background. Since a larger light source produces more reflections, it helps the scene become less clean and grounded, in contrast to the sharpness of the movie.
The depth of the three-dimensional sense can also be helped by the lighting. Hidden on the left side behind the air conditioner is an atomizer. The fog it pushes captures the warm backlight, brings heavy steam and fog to the background, and achieves the combined effect of clairvoyance and atmospheric perspective. In addition, a moving light called Solaframe was used to depict the background. This dramatic lighting helps those background buildings that have become too dull and flat to obtain a contrasting blue, so that the warm pink-orange figures stand out; it imitates the moonlight and hits the woman to provide further romance.
Contrast and balance are achieved, and the visual weights of elements and themes are adjusted through an artificial roof window sill. Initially, the actors had nothing to sit on, so a window sill built with LED lights entered the scene, imitating the light source from inside the building. This scene needs a white point so that the viewer's eyes can stay on it as a base point, because the rest of the scene needs to look super colorful and dark. This is a way to make it dark without feeling gloomy. In addition, Todd Banhazil shot this scene with the Panavision DLX 2; by using the demodulated Pana speed lens, he can turn on the lens and change some characteristics to make the captured image and lens easier to flash. Softens black and high-gloss light.
Personally, I learned how to use various light sources and bouncers from Banhazl's film technology, which can help me create a super static scene, and can also create a balanced scene with the required dimensional weight. Small and large light sources provide the desired tone of the scene, and use color contrast to balance visual elements and even create a dominant position.
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In this scene, the construction of mood through cinematography is the greatest attribute that aided in depicting the highlight moment where the two main protagonists are emotionally bonding. The key subtext of this moment is to show how Destiny is becoming intoxicated by Ramona during their first interaction .
The dominant colours are slight purplish-pink and warm yellow/orange. According to the colour psychology,'pink' suggests romantic and feminine, which adds an ounce of fantasy to the screen, and portrays the two women as nearly hyper-realistic superheroines; Meanwhile, yellow and orange colours wraps around them, especially on Ramona, which transfers her into an idealized energetic yet warm person, being adored by Destiny.
In terms of tonality, this scene is well saturated, which lends a sense of sentimentality, and radiance. In the scene, Destiny has just seen Ramona for the first time after downstairs giving her killer performance. In this scene, Ramona wrapped Destiny up with her giant coast when Destiny asked for a light. Destiny falls in love with Ramona's halo, basically intoxicated by her. With its saturated tonality, colour choices played their roles well and helped the subjects to burst off the screen, carrying an amount of vibrancy, energy, and warmth which are generating between them.
Lightings helped cinematographer Todd Banhazl to create this hyper-stylized scene. The main light is a giant backlight-a 24K tungsten light with an orange gel, placed three blocks away on a condor with a large construction crane. Since Destiny is so intoxicated by Ramona , the tungsten light gives a big gorgeous warm halo on Ramona. Fill light is placed on the right side of the camera, and a bouncer facing their face, to bounce back the gold backlight that's seen in their skin. On the left side of the camera is a pink LED light (a digital Sputnik) which paints the pink in their skin, in the highlights, and in their jewelry; it also highlighted the AC unit in the background. Since bigger light sources can create more reflections, it helped the scene to get a little less clean, and grounded, to contrast with its cinematic sharpness.
Dimensionality depth is well aided by lighting as well. Off to the left behind the air conditioning unit hid a fogger back, it pushes fog which catches the warm backlight, giving the background weighted steam and haze to achieve a Chiaroscuro and Atmospheric perspective combined effect. Moreover, one mover light called a Solaframe is used to paint the background. This theatrical light helped the background buildings that were getting too dull and flat to gain a colour contrasted blue so that the warmer pink-orange characters stand out; it mimics moonlight, hitting on the women, to provide further romance.
Contrast and balance are achieved, the visual weights of elements and subjects are adjusted with an artificial rooftop ledge. Initially, the actors had nothing to sit on, so a built ledge with an LED light that imitates light source coming from inside the building comes into the scene. The scene needs a white point that audience can rest their eyes in and hold on to, as a base, because the rest of the scene needs to appear super colourful and dark. It's a way to make it dark without it feeling murky Additionally, Todd Banhazl shot the scene with Panavision DLX 2; by using detune Panna speed lenses he could open up the lenses and change some of the characteristics, allowing captured images and lenses to flare easier, softens the blacks and highlights glow.
Personally, I learned from Banhazl's cinematography techniques that how to use various light sources and bouncers could help me to create a hyper-stylized scene, and also a balanced scene with needed dimensional weights. I will definitely practices utilizing small and big light sources to deliver the tonality a scene needed and use colour contrast to balance the visual elements or even create dominance.
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