Shooting exterior day in a studio

[dielome]

Hi,

I'm going to shoot a short film in a studio. There is a lot of shots that look out of the window into the street (with people inside and outside). So far I think I'm going to try to bounce as many lights as possible to the ceiling to recreate the ambient day light and use a 5 K with diffusion to fake the sun light. I'm a bit confused regarding the color temperature. The inside light is going to be wormer and the fake day light quite cool, but which kind of difference should it be to look naturel?

Edited October 9, 2006 by melodie Lamotte d'Incamps

[Matt Sandstrom]

The inside light is going to be wormer and the fake day light quite cool, but which kind of difference should it be to look naturel?

less than full. i usually correct all to the same temperature and maybe just leave any practicals warm. using a tungsten unit for the sun is a less than perfect idea since you'll have to gel it blue, and then gel the window orange, meaning you'll lose a lot of light. a 1200 hmi will give you as much light with less hassle. anyway, if you decide to do it that way i'd probably start with full ctb on the 5k and half cto on the window. or you can gel all the indoor units half blue and leave the window. it depends on what you think is easier and what light output you're getting. are you shooting film or video? print or telecine?

 

/matt

[David Mullen ASC]

Since he's shooting on a stage, a tungsten unit on tungsten stock would render "white" so the only question is what sort of off-white tones does he want to create a sunlight look? I might, for example, gel direct hard "sunlight" coming through a window with 1/4 CTO for a little extra warmth and gel soft "skylight" coming through the window with 1/4 CTB or 1/2 CTB for a little coolness.

 

Tungsten practical lamps would generally be off in a day interior. They could be on but they won't render as warmly in comparison to the fake daylight because the color temps are closer together than in real life, unless you lit with HMI's.

[Delorme Jean-Marie]

hi

if your stock is tungsten balanced and your projectors are 3200 the either your ext and interiors will be "white".

if you want the outside cooler then warm the inside or cool the outside or both.

 

Now if you are daylight balanced use hmi or find a real location, not a studio one

 

dave you write faster than i do !

[Matt Sandstrom]

Since he's shooting on a stage, a tungsten unit on tungsten stock would render "white"

 

oh, i thought the outside was a "real" outside for some reason. guess i type the fastest but read too slowly. :-) i second your suggestion then.

 

how do you plan on lighting the exterior itself? the 5k is supposed to hit the interior through the window, right?

 

/matt

Edited October 10, 2006 by Matt Sandstrom

[David Mullen ASC]

oh, i thought the outside was a "real" outside for some reason. guess i type the fastest but read too slowly. :-) i second your suggestion then.

 

how do you plan on lighting the exterior itself? the 5k is supposed to hit the interior through the window, right?

 

/matt

 

Yes, I guess it's a little vague as to whether this "window" with people outside of it is a real window and real street or something on a soundstage that needs to be lit also.

[dielome]

oh, i thought the outside was a "real" outside for some reason. guess i type the fastest but read too slowly. :-) i second your suggestion then.

 

how do you plan on lighting the exterior itself? the 5k is supposed to hit the interior through the window, right?

 

/matt

 

Hi,

Thanks for answering. You all write faster than i do.

I'm going to shoot with 500 T kodak.

The story is supposed to take place in a butcher shop in chinatown, so i believe it makes sense to have lights inside even in day time.

 

One of my problem is to recreate a sense of the time passing (the story is over a period of three month)

The 5 K is supposed to fake the sun light, so it is going to hit the interior through the window at one point but I thought I would change the direction and quality of this light to give a feeling of different times and days.

For the ambient light outside I think of making a ceiling of poly and bounce HMIs corrected with 1/2 cto (or more?). The wall in front of the shop may be treated as a backdrop and lit with cyclights.

[Matt Sandstrom]

it's your call but the feeling i get is that if you're at the butcher's the sunlight would actually feel warm and the ourdoor neutral. if so i'd use a 1/4 cts on the 5k and leave eveything else tungsten. and maybe a little blue on the outdoor setlight if it's supposed to be in the shade.

 

/matt