Just to be clear: Conrad Hall changed his style to suit the movies he shot. The goal of this video and article is to drum up enthusiasm and a yearning to learn more. Think of it as a tribute, nothing more is intended.
How he started lighting
He started with the key light. He pointed it at the actors (see next), to set up the exposure and mood.
Once he completed this, he started placing peppers, fresnels, bounce sources, etc., to throw light around the set. His unique contribution to this approach was that these additional pockets of light were always motivated by the key itself, and not any other lighting supposedly in the scene.
He also used mirrors a lot to get directionality and contrast.
He had three signatures:
- The slash light or liner - which is the traditional kicker or slash light, except he uses it almost like it was an 'accident'.
- The top-side light- which is to the top and side of an actor's face, so the temple is hottest.
- The under-light - exactly like the top-side, but from the bottom. This was his key look, and he used it a lot.
The frequently put his faces in half shadow, and he loved playing with those edges of light. He exposed for a lot of contrast, and he was unafraid of the shadows.
Lenses and aperture
He loved to shoot wide open for a shallow DOF look. His unique lighting style allowed him to project a perception of depth even though the depth of field was so small.
He typically used mid (28mm) to telephoto (250mm) lenses, and rarely used wides. He chose the lens for the story.
He followed classical movement techniques, and rarely used handheld. He had a lot of aerial shots in many films, but that could be because the director called for it.
He never imposed his views on the director, so he stayed out of composition and blocking, unless he was asked to take over these functions.
I hope you've found this article useful. If I've stoked your interest in Conrad Hall's work, please watch the movies he shot. Not only is the lighting top notch, the movies are actually good!