'Love, Simon'


I have chosen a very eclectic series of scenes to illustrate the approach laid out during our meeting. Though the clips are quite varied in genre and style, it shows very simple lighting motivated by the windows and done in a very efficient way. Though none of them are exactly what I envision for 'Love, Simon', the first clip get closest to the look we talked about. One of the differences with this show is that 'Love, Simon' would have a fuller, less contrasty look.


Something else I wanted to convey with this selection, is my versatility in achieving many different looks with the same lighting approach. My lighting is not cookie-cutter, it is uniquely born out of discussions in pre-production with the creatives. I want you to see the range of looks I can achieve and have no doubt that I can deliver the right look for the show.

'#3 Normandy Lane'

Directed by Brenda Strong

This clip is a perfect example of a natural look with the light motivated by the windows. It is the closest to the look we discussed in our meeting. I only used two HMI fixtures coming thru the windows as an effective and efficient way of creating a naturalistic look. There were no lights inside the set which gave the actors, especially the inexperienced children, the freedom to perform without the intrusion of instruments on the set floor.

'Grey's Anatomy'

ABC - Dir. by Allison Liddi-Brown

Though a bit more of a "network look", this clip achieves a level of intimacy by the deliberate and subtle camera moves. Shot on location, I achieved the look by taking advantage of location practicals and four lighting units inside the set. The emotion achieved by the simple lighting and delicate moves helped the scene accomplish its emotional goal. For quite a big location the amount of lights used were minimal.

'Nike - Fear'

Directed by Robert Ascroft

Even though I had a truck full of lights, when I walked into the location I realized much of the work was done by the natural light in the space. No lights were used in this spot. I used some smoke, negative fill and some vaseline on the actor's body to create reflections. 100% natural light. It gave us the freedom to move fast and achieve an organic, unlit look.

'All Night'

Hulu - Dir. Brian Dannelly

Being a silly high school comedy, one of the things the director and I discussed was to give it a natural look in order to recall the John Hughes movies of the 80's. One big unit coming thru the basement windows provided the majority of the lighting for this scene, with only a small unit brought in to pick up the faces on close ups.

'Almost A Woman'

Masterpiece Theater: The American Collection

Though a period piece with a different palette from 'Love, Simon', we also took a naturalistic approach to the photography. It was important for the film to feel real in order for the audience to accompany the girl thru her journey. The majority of the lighting came thru the windows with minimal lighting inside the sets. This was one of those cases where I was involved early on and had input on the design of the sets.


Directed by Robert Ascroft

This is another commercial in which I achieved a natural look with very few units and very simple lighting. If you take away the grading and the slow motion, you would realize that the look is quite natural. This spot was very low budget (Bruce Willis paid out of his own pocket as he designed the fragrance for his wife) and shot it in one day with a crew of four. Very fast, very efficient and very beautiful. Again, this is to show my lighting range and efficiency by using very few lights

© Carlos González, SVC 2019