The firelight flickered against the cabin wall, warming the cool blue light of the full moon filtering through the tattered curtains. Suddenly the ominous blue then red flash of police lights filled the small room and Carson knew his game was up.
Suddenly the director yells, “Cut!” and the camera pulls back to reveal two Hollywood flats painted to look like cabin walls and a squadron of techies moving a myriad of lights and other equipment to new locations. Nowhere in sight in the cavernous sound stage is there a squad car, a full moon or a flickering fire.
For years Hollywood and independent filmmakers as well as corporate video producers have used lighting techniques to make us believe ...