Sheldon J. Walker | Cinematographer

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Works
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"The Last Dream"

It was important for us to start this film off with a sense of normalcy. Everything here looks exactly as you would expect it to look in your average therapist's office. It's a very simply covered scene with unimposing lighting.

We get more of the same here as we move into the protagonist's house. Before anything gets too intense with her dreams, the lighting is low in contrast and wraps significantly around her face, leaving few shadowed areas.

This is a dream sequence (actually everything with that guy is a dream sequence) that started to delve deeper into the character. I knew it would help to sell the "dream look" if the lighting appeared to come from absolutely nowhere logical, so

This scene was shot in a small kitchen, which presents a challenge when working with soft light. We had to do a fair bit of work to keep the light controlled and get the contrast on the actor's face. Once again I had it come from an illogical s

In this climax scene I went with really hard sources because it's only logical that the climax of the film should coincide with the climax of the lighting arc. This is the only time that we light the actors' faces with hard fresnel units and it help

It was important for us to start this film off with a sense of normalcy. Everything here looks exactly as you would expect it to look in your average therapist's office. It's a very simply covered scene with unimposing lighting.

We get more of the same here as we move into the protagonist's house. Before anything gets too intense with her dreams, the lighting is low in contrast and wraps significantly around her face, leaving few shadowed areas.

This is a dream sequence (actually everything with that guy is a dream sequence) that started to delve deeper into the character. I knew it would help to sell the "dream look" if the lighting appeared to come from absolutely nowhere logical, so

This scene was shot in a small kitchen, which presents a challenge when working with soft light. We had to do a fair bit of work to keep the light controlled and get the contrast on the actor's face. Once again I had it come from an illogical s

In this climax scene I went with really hard sources because it's only logical that the climax of the film should coincide with the climax of the lighting arc. This is the only time that we light the actors' faces with hard fresnel units and it help