SPN PICSPAM: The Cinematographic Use of Lighting in 5.04
For television, the cinematographic work on Supernatural has been quite consistently precise and meaningful over the years. But in the case of such an important episode of the series as 'The End', the lighting and shot composition work (done by Serge Ladouceur with this week’s director, Steve Boyum) held an especially prominent position. While naturally easy to discount, the work here was essential to the success of the episode while also lending a richer meaning to the text itself. Since I had some extra time this week, I couldn’t help but highlight a few moments that left me absolutely delighted to see. ;)
'There is a Reason to Hope': The Cinematographic Use of Lighting & Shot Composition in SPN 5.04
When The Lights Go Out In The City
This was the moment that made me want to do this post. I can’t remember a time when the shift of lighting was so damn important. I tried to capture it as best as I could here but it’d do you well to go back to the episode itself and rewatch this moment.
When we first see Sam on the phone with Dean, he’s at the wheel, driving (an image of taking control), as he tells Dean about his fate. There’s a golden light wafting in and out on Sam’s face, like any car scene in this show, to get the effect of other cars passing by. But this isn’t just any car scene. And this isn’t just any golden light. As Sam tells Dean he wants back in, to hunt down Lucifer, a glimmer of golden light slightly glints his face [Top Right]. When Dean scoffs about revenge, and Sam concedes his motive is redemption, a bright golden light floods his whole face [Middle Center]. Previously gold or yellow colors have signaled corruption, yet in its use here as a golden light, it is used instead to highlight Sam's drive and clearness of mind. He wants to stop being a pawn in evil's game, cut the head off that snake the right way this time, their way, with Dean, and finish it once and for all. I couldn't help but remember Sam's "What if we could win?" of 4.12 and Dean's repeating of the line in his bravado speech to Bobby in 5.01, even though he didn't fully believe it at the time.
Now, in contrast to Sam, Dean is lit with a slight blue light complementary of the blue background which gives an overall cold look and appearance. And so when he regrettably tells his brother they're better off apart, that golden light on Sam's face slowly dims (giving a more red appearance) and falls away from his face. In the last frame of Sam before Dean hangs up, as he pleads for his brother not to shut him out, the light casts again on his face, but fails to reach his eyes and eclipses them in darkness [Bottom Right].
Escaping the Chains of Fear
I'm not one to normally suggest a simple set piece needed for the scene has anymore inherent meaning than serving its purpose for the plot. Sometimes a fence really is just a fence. But in an episode where Dean, who has spent the last season in a cage of fear, rediscovers his clearness of mind and finally finds a way to break out of that constriction, the repeated imagery of a trapped Dean escaping the chain-linked fence is incredibly visually striking. We've seen Dean (and Sam) scale fences before. After all, it's the normal part of any case. But here, each time the shot composition places Dean behind the fence before he finds a mode for escape and crawls his way through it.
Differentiating Between The Two Deans
Yes, Jensen Ackles gave a masterful performance defining the difference between the Two Deans. Never when 2014!Dean was on screen did we confuse him with the 2009!Dean. Of course, he did have some help. ;)
The Glint in Your Eye Captures Your Soul
The first scene's mode of differentiation between the two Deans is perhaps the most distinct of the episode, relying on the presence of a strong eye glint. An eye light set above the actor’s head at just the right point in relation to the camera and eye (normally an eye light place on the camera itself just above the lens) will create a white eye glint like that seen on 2009!Dean [Top/Center/Bottom Right]. Traditionally, a well-intentioned eye glint can be used in a romantic sense to highlight a character’s soul, revealing a passion or drive. Appropriately for the story at hand, this light in the eyes of 2009!Dean characterizes him in stark contrast to his darkened-eye future self who’s lights have all but completely vanished from his own eyes. Notice also how the placement of the two in the scene facilitates this lighting, with 2009!Dean sitting on the floor looking up while 2014!Dean is standing looking down. Most darker lit scenes will have at least some form of an eye glint, but if full elimination of it is wanted, the easiest way to achieve this is for the actor’s eyeline to be focused downward.
The Future Is Ours To See
Once 2009!Dean escapes from his cuffs (oh, see there, more escaping!), all the indoor shots of the two Deans rely on their background shots to differentiated them. While 2014!Dean’s is consistently filmed with a dark black background, 2009!Dean’s backgrounds are intentionally light and bright, such as the green seen below (or the pink curtains in the earlier cabin scene). The only exception to this rule is the frame of both Deans in the same long-shot [Top Left/Right], where the Deans' backgrounds are switched. But due to the composition of the shot, the meaning of the light also changes. Instead, 2009!Dean is facing brightness ahead, while 2014!Dean is facing only darkness in front of him.
A Spark of Passion Paves A Light Homeward
Now, there is one time we see 2014!Dean filmed with that eye glint [Top Row]. It also turns out to be the one time we see a spark of passion left in him as he realizes the opportunity for 2009!Dean to change it all and begs him to say 'yes' to Michael. Here, the Dean differentiation is in the bright almost blinding light shone onto the right side of 2009!Dean’s face [Middle Row]. It is especially significant because I can’t remember a time when such a sharp hard light has been used in this show, so it is hard not to see it as the hopeful light of second chances raining down on 2009!Dean in this revelation. Of course, 2014!Dean realizes his begging is futile because he won't do it, because it's not what they do, and the light proceeds to slide from his eyes as they fall downwards [Bottom Row]. Little does 2014!Dean know that conversation will lead to a much better decision for his future than simply saying 'yes'.
The Fear of the Devil Himself
In this pivotal rose garden scene, all of this that the cinematography has been pointing to comes together. 2014!Dean dies quite literally trapped under the foot of Lucifer. When 2009!Dean confronts him, Lucifer circles him, and the shot composition traps Dean between him and the golden statue. But despite Lucifer's fear tactics, Dean refuses to let himself get trapped in them. He finally recognizes them for exactly what they are. Separate from Sam, Lucifer is only "the same brand of evil [he's] been fighting for years, only bigger". As Lucifer leaves, we're given a frame of Dean alone in the garden, free and unhindered, an image that's striking in comparison to the trapped images previously.
The Bright Hope Stretching Out to a Better Tomorrow
This scene has already been talked about numerous times in numerous ways, and all of them, their callbacks to Salvation and full circle meaning, make this ending so much richer. But in context of the cinematographic work I just discussed, the image of the tall railroad bridge stretching out continuously as far as one can see, is just about the most hopeful image I've seen on this show. Pairing this backdrop with the visual imagery of the brothers closing the seasons long distance between them, how could we really have asked for any scene more wonderful?
So, what does this all add up to? Well, I'd like to think that even the lighting and shot composition agrees. There really is reason to hope. For Dean and Sam, the future ahead could still be bright. And as those who have been on this rollercoaster ride as long as I have know, the idea of this horribly tragic show finally pointing towards some hope after so long is a breath of only the freshest air. It's fitting that in an episode where we see the worst of the worst happen, a flicker of light can turn events on its head. Like I said before, it's all uphill from here!
Also, a quick INSTA!FIC-REC! This takes a stab at two scenes missing from 5.04 and ties them together so masterfully it's immediately personal canon for me:
FIC: No Love Greater Than This [Dean, Sam, Lucifer, spoilers up to 5.04]
As far as I'm concerned, THIS? Is EXACTLY how these missing scenes went down in the AU 2014. As I said before, the idea that Dean was so surprised Sam said yes, after everything? Just told me how far Dean still has to go in understanding where his brother is. Of course it went exactly like this. Also? This was just about the most murderous thing I've read in ages. THERE WERE ACTUAL TEARS STREAMING DOWN MY FACE, THAT IS HOW EFFECTIVE THIS SHIT WAS. And I DON'T CRY OVER FICS! Really! I don't even need a whole hand to count the number of times I've actually cried over a fic. So this is just a warning, bring the tissues!
And, a HAPPY WINCHESTER DAY to all! Otherwise known as the TV Day that Broke the TV Viewers Backs. I'm actually kinda hoping this show won't break my brain quite so horribly the next couple weeks and I'll have some time to watch and talk about some other shows soon. We got our hope, now where's that fun apocalypse, Kripke?
'There is a Reason to Hope': The Cinematographic Use of Lighting & Shot Composition in SPN 5.04
When The Lights Go Out In The City
This was the moment that made me want to do this post. I can’t remember a time when the shift of lighting was so damn important. I tried to capture it as best as I could here but it’d do you well to go back to the episode itself and rewatch this moment.
When we first see Sam on the phone with Dean, he’s at the wheel, driving (an image of taking control), as he tells Dean about his fate. There’s a golden light wafting in and out on Sam’s face, like any car scene in this show, to get the effect of other cars passing by. But this isn’t just any car scene. And this isn’t just any golden light. As Sam tells Dean he wants back in, to hunt down Lucifer, a glimmer of golden light slightly glints his face [Top Right]. When Dean scoffs about revenge, and Sam concedes his motive is redemption, a bright golden light floods his whole face [Middle Center]. Previously gold or yellow colors have signaled corruption, yet in its use here as a golden light, it is used instead to highlight Sam's drive and clearness of mind. He wants to stop being a pawn in evil's game, cut the head off that snake the right way this time, their way, with Dean, and finish it once and for all. I couldn't help but remember Sam's "What if we could win?" of 4.12 and Dean's repeating of the line in his bravado speech to Bobby in 5.01, even though he didn't fully believe it at the time.
Now, in contrast to Sam, Dean is lit with a slight blue light complementary of the blue background which gives an overall cold look and appearance. And so when he regrettably tells his brother they're better off apart, that golden light on Sam's face slowly dims (giving a more red appearance) and falls away from his face. In the last frame of Sam before Dean hangs up, as he pleads for his brother not to shut him out, the light casts again on his face, but fails to reach his eyes and eclipses them in darkness [Bottom Right].
Escaping the Chains of Fear
I'm not one to normally suggest a simple set piece needed for the scene has anymore inherent meaning than serving its purpose for the plot. Sometimes a fence really is just a fence. But in an episode where Dean, who has spent the last season in a cage of fear, rediscovers his clearness of mind and finally finds a way to break out of that constriction, the repeated imagery of a trapped Dean escaping the chain-linked fence is incredibly visually striking. We've seen Dean (and Sam) scale fences before. After all, it's the normal part of any case. But here, each time the shot composition places Dean behind the fence before he finds a mode for escape and crawls his way through it.
Differentiating Between The Two Deans
Yes, Jensen Ackles gave a masterful performance defining the difference between the Two Deans. Never when 2014!Dean was on screen did we confuse him with the 2009!Dean. Of course, he did have some help. ;)
The Glint in Your Eye Captures Your Soul
The first scene's mode of differentiation between the two Deans is perhaps the most distinct of the episode, relying on the presence of a strong eye glint. An eye light set above the actor’s head at just the right point in relation to the camera and eye (normally an eye light place on the camera itself just above the lens) will create a white eye glint like that seen on 2009!Dean [Top/Center/Bottom Right]. Traditionally, a well-intentioned eye glint can be used in a romantic sense to highlight a character’s soul, revealing a passion or drive. Appropriately for the story at hand, this light in the eyes of 2009!Dean characterizes him in stark contrast to his darkened-eye future self who’s lights have all but completely vanished from his own eyes. Notice also how the placement of the two in the scene facilitates this lighting, with 2009!Dean sitting on the floor looking up while 2014!Dean is standing looking down. Most darker lit scenes will have at least some form of an eye glint, but if full elimination of it is wanted, the easiest way to achieve this is for the actor’s eyeline to be focused downward.
The Future Is Ours To See
Once 2009!Dean escapes from his cuffs (oh, see there, more escaping!), all the indoor shots of the two Deans rely on their background shots to differentiated them. While 2014!Dean’s is consistently filmed with a dark black background, 2009!Dean’s backgrounds are intentionally light and bright, such as the green seen below (or the pink curtains in the earlier cabin scene). The only exception to this rule is the frame of both Deans in the same long-shot [Top Left/Right], where the Deans' backgrounds are switched. But due to the composition of the shot, the meaning of the light also changes. Instead, 2009!Dean is facing brightness ahead, while 2014!Dean is facing only darkness in front of him.
A Spark of Passion Paves A Light Homeward
Now, there is one time we see 2014!Dean filmed with that eye glint [Top Row]. It also turns out to be the one time we see a spark of passion left in him as he realizes the opportunity for 2009!Dean to change it all and begs him to say 'yes' to Michael. Here, the Dean differentiation is in the bright almost blinding light shone onto the right side of 2009!Dean’s face [Middle Row]. It is especially significant because I can’t remember a time when such a sharp hard light has been used in this show, so it is hard not to see it as the hopeful light of second chances raining down on 2009!Dean in this revelation. Of course, 2014!Dean realizes his begging is futile because he won't do it, because it's not what they do, and the light proceeds to slide from his eyes as they fall downwards [Bottom Row]. Little does 2014!Dean know that conversation will lead to a much better decision for his future than simply saying 'yes'.
The Fear of the Devil Himself
In this pivotal rose garden scene, all of this that the cinematography has been pointing to comes together. 2014!Dean dies quite literally trapped under the foot of Lucifer. When 2009!Dean confronts him, Lucifer circles him, and the shot composition traps Dean between him and the golden statue. But despite Lucifer's fear tactics, Dean refuses to let himself get trapped in them. He finally recognizes them for exactly what they are. Separate from Sam, Lucifer is only "the same brand of evil [he's] been fighting for years, only bigger". As Lucifer leaves, we're given a frame of Dean alone in the garden, free and unhindered, an image that's striking in comparison to the trapped images previously.
The Bright Hope Stretching Out to a Better Tomorrow
This scene has already been talked about numerous times in numerous ways, and all of them, their callbacks to Salvation and full circle meaning, make this ending so much richer. But in context of the cinematographic work I just discussed, the image of the tall railroad bridge stretching out continuously as far as one can see, is just about the most hopeful image I've seen on this show. Pairing this backdrop with the visual imagery of the brothers closing the seasons long distance between them, how could we really have asked for any scene more wonderful?
So, what does this all add up to? Well, I'd like to think that even the lighting and shot composition agrees. There really is reason to hope. For Dean and Sam, the future ahead could still be bright. And as those who have been on this rollercoaster ride as long as I have know, the idea of this horribly tragic show finally pointing towards some hope after so long is a breath of only the freshest air. It's fitting that in an episode where we see the worst of the worst happen, a flicker of light can turn events on its head. Like I said before, it's all uphill from here!
Also, a quick INSTA!FIC-REC! This takes a stab at two scenes missing from 5.04 and ties them together so masterfully it's immediately personal canon for me:
FIC: No Love Greater Than This [Dean, Sam, Lucifer, spoilers up to 5.04]
As far as I'm concerned, THIS? Is EXACTLY how these missing scenes went down in the AU 2014. As I said before, the idea that Dean was so surprised Sam said yes, after everything? Just told me how far Dean still has to go in understanding where his brother is. Of course it went exactly like this. Also? This was just about the most murderous thing I've read in ages. THERE WERE ACTUAL TEARS STREAMING DOWN MY FACE, THAT IS HOW EFFECTIVE THIS SHIT WAS. And I DON'T CRY OVER FICS! Really! I don't even need a whole hand to count the number of times I've actually cried over a fic. So this is just a warning, bring the tissues!
And, a HAPPY WINCHESTER DAY to all! Otherwise known as the TV Day that Broke the TV Viewers Backs. I'm actually kinda hoping this show won't break my brain quite so horribly the next couple weeks and I'll have some time to watch and talk about some other shows soon. We got our hope, now where's that fun apocalypse, Kripke?