American Cinematographer has a wonderful piece online about both the theory and the execution of the lighting in Sunshine. It's a SciFi movie, about the death of the sun and a mission to jumpstart it with a nuclear bomb.
There's a lot of technical stuff, which I of course love. But the most interesting thing to me was psychological. They added impact to the eventual sun close-ups by starving the set of any warm colors whatsoever during the earlier sequences.
There was a lot of green screen, obviously. As such, they had to create dynamic light proxies for the sun, so the actors could react to it. Think about it -- a swirling, dynamic sun would create moving light which would be visible on the people in the frame. I loved their solution.
Way cool stuff. Well, figuratively, anyway.
Story link:
:: American Cinematographer: Let There Be Light ::
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Thanks to Levy Carneiro for the tip via Twitter.
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