Question

[Gustavo Torres Santos]

This is my first post, My name is Gustavo Torres, I´m from Bogota, Colombia, I have been studying cine, With a partner where making a short, bottom there is a diagram for lighting in one shot, I want you to make me observations about it.

 

The film is 250D, there is one HMI PAR 1.2, I want to use some 1/4 or 1/2 CTO, all the others light are balanced to tungsten, in the diagram I did not put a pair of lights, a kino Flo 4 ft, in t roof, with Tungsten lights, and other Kino 2 Ft that it will be put over the dolly, near the camera.

 

My intention is to make the image look yellow, look like Vermeer paints, if you have observations i will have in my mind, to make the image better.

 

 

 

[Mario C. Jackson]

Inco

My first question would be what is the story about and what are you trying to achieve in your photography? What kind of look are you going for? If you can tell me that I would love to give my input.

Mario C. Jackson

[Laurent Andrieux]

The non corrected 3200 K tungsten lamps are not really going to look yellow if you don't correct them with daylight stock.

 

It will look more like amber/orange.

 

If you want it to look yellow, I suggest you correct them a bit (maybe a half or so of CTB) and add some light yellow gel like some straw for instance. You can also find something you like in a sample of gels that lee or rosco can give you.

 

Mind that a half CTB cuts 1 stop on your bulb...

 

(Mind on your document that it's only 1000 W and 650 W lights you are using, not 1000 kW nor 650 kW ;) )

[Dickson Sorensen]

My intention is to make the image look yellow, look like Vermeer paints, if you have observations i will have in my mind, to make the image better.

 

The first thing to do is to look closely at Vermeer's paintings. He often lit his subjects from the left side with a very soft source, like one would get if you put a large diffussion frame in front of a side key light. Then you need to control the spill so that the light falls mainly on the actor's faces and a little on the wall behind keep the forground in the shadow. Vermeer used a camera obscura to paint giving his paintings a photographic quality. When you look at the forground objects they often seem slightly soft in focus. Shoot with a shallow depth of field. I have seen many of his paintings and I can tell you that they are not that yellow in person. Go for soft source side lighting with rich shadows. Good luck.

[Laurent Andrieux]

Yes, right Dickson (though it's never been proved he used a camera oscura, but I believe in it, too). Also if you want a "cast" in you image, remeber to have opposite color as well, that enhance the domining color, a blue part in the frame in the case you stick to the "yellow" idea

[Dickson Sorensen]

Also if you want a "cast" in you image, remeber to have opposite color as well, that enhance the domining color, a blue part in the frame in the case you stick to the "yellow" idea

 

You bring up a very important point. In order to see warm color you contrast part of the scene with cool color. For an example a warm light through a window (CTO) fill the shadows with a cool light (CTB).

[Gustavo Torres Santos]

Thank You for all your answers, all my work will have in mind.

 

Excuse me for the error about the Kw.

[Guest dbledwn11]

its difficult to say since there are no dimensions on your lighting plan, but if it is even somewhat to scale I'd imagine this scene looking pretty high key. there are an awful lot of lights therefore a lot of illumination. maybe your planning on flagging and cutting an awful lot. I would of thought if you're going for a Vermeer look then you want to ease up on the lights a bit.

 

did any of the previous post(ees) think this??