#Rainbow background overlay iso#

I could go on forever, but I just keep going down further and further. And then we talk about, well, which one of those are we going to emphasize for the key? Then, I just keep going. There might be multiple sources of light on the set, which we've discussed. Maybe there's something on the set that we could use for the key light. Maybe the key light is coming from the set. Is there daylight coming in the windows? Is there firelight or is there some kind of motivated practical lighting? Are there lamps or other fixtures on the set? Then, I talk about what we're going to use for the key light. Where are they going to be? I have a process for breaking down the lighting of each set, which I call the vocabulary of light and the 'vernacular of light,' which is first you start with environmental lighting, like what light would naturally be on that set?Ī page from Isaac Bauman's 700-page Loki bible Credit: Isaac Bauman Then, we get into the nitty-gritty of what units are we going to use. On each set, we'll discuss what look we're doing on that set and how we're going to achieve it in that specific set. Sometimes they'll intersect, but generally, the Looks are delineated in such a way that you only see one of them at a time. I talk about how on any given set, there's usually only going to be one look. There is a section where all of the Looks, like the broader Looks, are delineated and kind of shown in comparison to each other and summarized in a way that makes it clear how they're designed to play together and how they contribute to what I call the tapestry of Look, which is the overall macro overview of how the show will look as if you're able to take stills from every different look and overlay them together on a light table or something like that. Each of these things, each of these small components is meant to contribute to a unified and cohesive vision that creates a distinctive look for the cinematography as a whole.

#Rainbow background overlay iso#

It's the ISO and the LUT and the types of lights we use and the shot sizes and what focal lengths we use in the shot sizes and every single component of the cinematography, no matter how small it might seem, I delineate that out into its own section of this document and discuss what we're going to do for Loki and why we're going to do that and how that contributes to the big picture. I take that process all the way through every single part of the production that I'm responsible for, and the look of the cinematography. So just on the front of the camera, on the lens alone, there are four decisions you have to make. And there's the choice of what diffusion to use or not use. There's the choice of the iris setting or aperture, the T stop. If you think about, just the optical side of things, there's the choice of the set of lenses, there's the choice of focal lengths for any given shot size. So what I do is break down every component of the cinematography. But the idea is that we want to create as distinctive a look for the show as possible, as bespoke, and customize a look as we can. NFS: Can you talk about what was in that and what you used it for?īauman: The idea is-and this is an approach I bring to any given project, it's just that Loki was such a large project-it required a more extensive and thorough breakdown. No Film School: I read that you came up with a 700-page bible for this season. Marvel Studios’ Loki Season 2 | Official Trailer | Disney+ Editor's note: the following conversation has been edited for length and clarity. If you're looking for creative ways to show otherwordly light, you need to read this interview! You're probably seeing edits on TikTok already featuring some of these beautiful shots, but we decided to Zoom with Bauman ourselves to ask how he got it done. If you care about cinematography at all, you probably watched the show and asked, 'How the heck did they do that?' I know I did. The result was a gorgeous tapestry of '70s-inspired cinematography within the TVA, tungsten-lit 1800s locales, and a rainbow-filled control room as timelines shattered in a void.

The second season saw several shifts in the show's creative team, including cinematographer Isaac Bauman, who came in with a 700-page plan for the show's visuals (yes, you read that correctly). Season 2 of Loki just ended on Disney+, giving the god of mischief a fitting and dramatic end to his complicated story of interwoven timelines and self-discovery.