Its Bosnian cinematographer Boris Mojsovski, a member of the Canadian Society of Cinematography, says that he read the comics a lot as a refugee and that he tries to implant a darker, heavier tone to the environment, although he also works with many colors of the characters, because the environment of the comics are very colorful.
The lighting and setting itself changes, as the story starts in Chicago, goes through L.A., goes to Gotham and goes back to L.A.
I always try to connect the lighting as something that drives the plot, and here it happens elegantly and very drastically I would say. Environments where light never penetrates, this is something very deep, the absence of light is directly linked to issues such as fear and anguish, personal dramas and leads viewers to a curiosity for an outcome, which does not happen at the time.
It is very visible that the technological area is treated with a clear blue light and a white light at 6,500K, perceptible by the TV, perhaps on the film set the color temperature is different, and the human part, where the conflicts and psychological traumas in the apartment in the Titans Tower, the light is much warmer, more welcoming, which is a strong point of the plot, welcoming stray people.
At the same time, this difference in tones helps to focus the scene, I love the lighting, I love the architecture of the place! And speaking of architecture, next time we’ll talk about Deathstroke’s apartment, a villain who has a very elegant apartment.
