Hollywood Darkness - TV Tropes. When a character switches off the last light in the room, a vaguely bluish light slightly dimmer than normal illumination switches on. It's implied that the characters aren't supposed to see what the audience can, which makes sense; a black screen isn't much fun to watch. Funny thing is, most of the time the characters will be unaffected by the supposed darkness, moving about without stumbling over furniture or stubbing toes. In a few cases, a red light will be used instead. Video games provide numerous examples of oddly well- lit caves.

Filming Locations used for TV and Cinema in and around the Cotswolds. It’s not surprising that the Cotswolds has

This Masterpiece Theatre production, set at the cusp of the Industrial Revolution, chronicles the life, loves, foibles and politics of the fictional English town of. Gemma Arterton . Après avoir été formée notamment à la Royal Academy. The Fragile Flower trope as used in popular culture. Ah, everyone loves sweet little Alice. She's so beautiful, but she looks as if she's always just one. The Hollywood Darkness trope as used in popular culture. When a character switches off the last light in the room, a vaguely bluish light slightly dimmer.

And space is always brightly illuminated. It often becomes a form of Special Effect Failure — shadows don't match the flashlights, headlights or torches involved. In fact, sometimes the shadows of the supposed light sources are clearly visible. In certain cinemaphile circles this was known as . Thanks to the advent of the digital post- production it's also much easier to do convincingly (such as doing sky replacements).

Similarly, it's common in Sitcoms these days for a . Someone then says something in the dark — sometimes it's a comment that prompts someone to turn the lights back on, and sometimes it's an entire conversation. And of course, video games often give you a torch for a reason. Watch Nosferatu,The Cabinet of Dr. Caligari, or M and try guessing what time something happens.

This comes from technological limitations imposed by the film stock available in those days. By which we mean that filming in darkness would have produced absolutely nothing.

Contrast Who Forgot the Lights?, a generallybadinversion that happens in video games. See also Rule of Perception for one reason this trope exists. The common practice of using blue to represent . The characters can't see a thing but to the audience, the lighting has barely changed. Furthermore, they met only once, and that usually isn't enough time to form a lasting impression of a face. And Haruhi still asks: . Thus starting the Stable Time Loop.

Haruhi and Yuki also have a similar first meeting where the darkness, Yuki's nearsightedness (she went out without her glasses), and a lack of an impression made on Haruhi really did make it hard for each to identify the other later. The resultant combat is therefore mostly shown through the security cameras feed. Examples include Lawrence of Arabia, where the hard sun is fairly easy to spot, but done most recently in Mad Max: Fury Road. Paul claims it is too dark for the probe to see, even though the room is well- lit. Old, unrestored prints of Nosferatu show that the vampire is walking around in daylight, although he shouldn't be able to. The Cabinet of Dr.

Caligari goes one step further. Unable to afford the tools necessary to produce such low level lighting, the nightime shadows are actually painted on to the set, adding to the surreal dream- like atmosphere. In the book it was pitch black, invoking Nothing Is Scarier and Dark is Evil (we are told she . He does run right into a web he should have been able to clearly see, so it's obvious that the lair is lit in our view, but not in his. Given that this movie is a parody of other movies, it was probably intentional. The film makers shot these scenes using day- for- night effects so they didn't need to worry about trying to get all of the lights in the buildings and on the streets shut off. Tammy and Andy can't see a thing and are very vocal about this since they keep bumping into corpses and such.

But when it cuts away from P. O. V. Cam the audience can see just fine. The corn is vibrant yellow but the fire is burning hundreds of yards away.

So they cut off every light and heat source in the house, which happened to be floating in space at the time, apparently far away from any star. Ignoring the thousands of other implausibilities in that situation, the characters shouldn't even be able to see the backs of their own eyelids. For example, the BBC adaptation of Tess of the d'Urbervilles — especially the scene of Angel and Tess having supper. He gets the drop on Scaramanga, but Nick- Nack turns the lights off, causing him to miss. We see the room flooded with red light. Not very convincing at all, since they're supposed to be way out in the middle of nowhere in the American West, and yet the sky is dark- to- medium blue. Director commentary reveals that, due to time constraints, some of the broad- daylight wedding scenes (close shots of Michael at the table with Kay) had to be filmed at night.

They blasted the area with sufficient light that it's not noticeable. While it mostly works well, it's very easy to spot when the sky is in the frame, which usually is a very uniform light blue. In the scene outside the train station (where Magneto confronts the police) which, if you watch the making- of video, is revealed to have been shot in broad daylight. It looks like night and the clear lighting of the characters and location is from police floodlights.

It's shot on a set. Justified in that the serials were filmed in black and white. When the dwarves are camping on the goblins' front porch, it's night, there are clouds outside, no fires are allowed, they're not in direct sight of the entrance, and there isn't an opening above them. However, it's as light as any normal cloudy day — brighter even than the mountainside was minutes before. However, the blue filter is later used in . When Stanley is just being Stanley, the blue lighting is plain, ordinary, naturalistic blue lighting. Whenever Stanley's dreaming, or whenever the Mask is involved, though, it turns into this harsh, unnaturally oversaturated cobalt blue (or, as director Chuck Russell called it, .

In one scene the sun with its luminous corona is clearly visible in the sky of a supposedly night- time scene cast in just enough blue that you almost forget that there are dramatic afternoon shadows cast from everything. It's supposed to be so dark that the goons can't see him, but the viewer can easily see everything. But all caves on the Discworld are illuminated by something in case a human hero falls in and needs to see. Victor comes up with the idea of explaining the situation away in the dialogue card: . Believers in Christ, on the other hand, are able to see with the illumination level of a low- powered chandelier. Played straight, however, in .

Whenever the hero ship faces a power disruption, all the systems will go offline except for a few lights here and there and all you see is the ship vaguely silhouetted by its own running lights. Monk Saison 4 Episode 10 there. In real life, such a ship would be lit as such all the time, at best. Averted in some of the Trek movies, where the Enterprise has exterior floodlights aimed at the ship's hull, specifically to make it visible. The ship travels through a pitch- black area of space and is barely visible except for its exterior lights. Always so well- lit, even when there are no light sources anywhere. This was finally partially fixed in Star Trek: Enterprise, which used the blue filter. In several scenes, dialog indicates that it's supposed to be night, but it's obviously midday, and it isn't even blue filtered.

Joel and the 'bots lampshade the mistake: . As the characters are conversing in blatant midday, Crow and Tom end the characters' sentences with . Most of their scenes are shot during the day. In fact, you couldn't have picked a nicer day to film a NIGHT sequence!! Billy advises the group to look for any sources of light filtering through. Naturally, the fact that the cave is not even slightly dark and has plenty of light sources unintentionally makes this line freakin' hilarious.

The caves of Fraggle Rock are awfully brightly lit for an underground world. But this is explained in a season 2 episode in which the Fraggles discover the existence of the Ditsies, tiny bioluminescent creatures who feed on music — yet another of the show's many inter- dependencies between species.