Still, it’s a great example of an expressive natural setting. But that was natural! Well… maybe not to the degree it was in Stranger Things. The Starcourt Mall is an amalgamation of everything ‘80s: big hair, neon lights, chain-restaurants, etc. This visual technique carried over from season to season, even beyond Ives’ time on the show. Ives maintained a shallow depth of field for most of his shots where the foreground subject is presented with relative sharpness, and the background is blended. Leica prime lenses were used on Stranger Things to deliver a soft image.
Of course, there are moments where the tone blends we’ll get to that in a bit, but first, let’s talk more about how cinematographer Tim Ives built a natural filmic look. The different lighting styles give the two sides of the story decidedly different tones.
What is flat lighting? We define flat lighting as “a style of even lighting that produces very little depth and contrast.” Flat lighting isn’t typically a good thing - so why is it lauded in Stranger Things? Well, flat lighting juxtaposes the high contrast lighting commonly seen in the show’s supernatural scenes. Most of the “natural” scenes in Stranger Things are shot with flat lighting. But the Duffer brothers don’t just rely on aspects of story and set dressing to communicate intertext, they rely on cinematography as well. Clarke) Matty Cardarople (Keith) Kyle Dixon & Michael Stein (Composers) Andrey Ivchenko (Grigori) Dacre Montgomery (Billy Hargrove) Francesca Reale (Heather Holloway) Brett Gelman (Murray Bauman) Alec Utgoff (Dr.Here, the plot and production design call back to an iconic scene from cinema history.
#ĪMA's David Harbour (Chief Hopper) Glennellen Anderson (Nicole) Peyton Wich (Troy) Ross Partridge (Lonnie Byers) Catherine Dyer (Agent Frazier) Randy Havens (Mr.
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