“I wanted the movie to look as naturalistic as possible. We did not use movie lights. It’s all light bulbs. All the lights that you see in the set are the lights that are lighting the scene. These cameras allow us to do that because the dynamic range of the camera was able to capture the light bulb and the face of the actor without clipping. There is one scene where we used probably a 20K. It was outside a window in the stage to create the impression of daylight, but all the other lights are just lamps and practicals. Lighting each scene was the most difficult trick. That is because, for instance, the light that is lighting Michael at his makeup mirror will create a shadow a minute later if we move around the room. So we had to time all of the lighting changes, making sure you don’t see shadows. We were moving lights; we were moving diffusions. There were grips moving with me. Every time you see a shot, there were eight people moving with me. It was like a ballet — that’s what made it truly exciting.”

Emmanuel Lubezki on the cinematography of Birdman

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