(p.11)

In this particular location I had two extremely large windows, on the left side of the camera, and through those windows I had um a particular type of light called an HMI, which were twelve kilowatts each, um so these lights were coming through the windows, which were, would give me the effect of daylight, or for daylight read keylight if you like. So the light would come through, um giving a realistic look. And what I did in this case was the desk that Dorothea is seated at is in the centre of the room, or more or less the centre of the room, so I used um one window as the key light window if you like, and I used the

(p.12 cont.)

other window, which was slightly behind her, to give a lighting effect of sunlight coming down the, the wall which had the bookcases on it. Now that gives you, not only does it look like daylight stroke sunlight coming through, but it also brings out the texture and detail in the books, um in the background, which makes the, gives the shot depth.

(p.14)

large, this library is extremely large, and you, although it is a, is still only basically using, it's using a number of light sources, but it's, basically it's still light coming from one side, like key light and, and fill light from the other side, but you just do it on a much bigger scale, um, but it does give obviously a very different effect to the three-light system that you might see on a portrait, but basically it is the same, it is one and the same thing, but on a different scale. Um, I then call for the artistes to to come in, um and in this particular instance I always like to have finer control over the light that actually lands on the artiste - in this instance it was Dorothea, who is in the book in her early twenties,

(p.16)

BRIAN: Ho, hopefully this shot will look very beautiful in this instance, um, but it will, what it will do, it will take out as many imperfections you can possibly hope for, um to make - in this instance it was Dorothea, to make Dorothea look as beautiful as possible.

(p.16)

BRIAN: The overall lighting effect on the shot will look like a, not a brilliant sunny day, but it will look like a sunny day, in a, in a room that is (COUGHS), it will look like a sunny day in a room that is not really gloomy, but not maybe the most um enticing room that you would want to be in, but it will also give you a lot of information, will give the viewer a lot of information about that room, um by showing up the detail of the books, and the textures of the books, and the textures and, and the shapes and then

(p.17)

details of the furniture that the, that er, that the books are placed on and that, that, furniture that's adorning the room. That is if you like the background. In the foreground you have your artistes, um and and they have a slightly extra, bit of extra treatment by using the diffusion material, which makes them look a bit more, just more interesting, basically.

Ref Code: PM-98 Title: Transcript extracts from a video interview with Brian Tufano, Lighting Cameraman for Middlemarch, p. 11-17, discussing how lighting can emphasise character and location in relation to Dorothea working in the library with Casaubon. Date: 1993 Format: .png Source: ITM-7963 Transcripts of interviews with members of the cast and crew of Middlemarch (BBC/WGBH, 1994). Edited for the BBC (British Broadcasting Corporation) Educational Developments/BFI (British Film Institute) Education package Screening Middlemarch: 19th Century Novel to 90s Television. Held at BFI, London, UK. http://collections-search.bfi.org.uk/web/Details/ChoiceArchive/110008677