>>4172340Even with Barry Lyndon it is partially a myth/misunderstanding enforced by the NSA lens stuff. Most if not all of the exteriors are available light mostly, but most of the interior shots are lit. You can even see lights in couple of the day interior shots. I think they used tungsten corrected for daylight Brutes. There is more lighting in Barry Lyndon than people realize. John Alcott was one of the greatest cinematographers ever and his lighting was so subtle and naturalistic that lot of it looks almost "unlit". Which is probably the hardest thing to pull off.
In other words, then, you would take your cue from the way the natural light actually fell and then you would build that up or simulate it with your lighting units in an attempt to get the same effect, but at an exposurable level?
>Yes. In some instances, what we created looked much better than the real thing. For example, there’s a sequence that takes place in Barry’s dining room, when his little boy asks if his father has brought him a horse. That particular room had five windows, with a very large window in the center that was much greater in height than the others. I found that it suited the sequence better to have the light coming from one source only, rather than from all around. So we controlled the light in such a way that it fell upon the center of the table at which they were having their meal, with the rest of the room falling off into nice subdued, subtle color.In creating that particular effect, did you use any of the light actually coming through the windows?
>No, it was simulated by means of Mini-Brutes. I used Mini-Brutes all the time, with tracing paper on the windows — plastic material, actually. I find it to be a little bit better than the tracing paper. 
