I'd like to resurrect the "Post a lighting setup" topic from a long time ago!

[Chris Keth]

Cross 1Ks fresnells as Candle Light

 

Nice, simple, to-the-point. I like it. I especially like the pink in the drapes in the BG, nice touch. Motivated from anything or just pretty?

[janusz sikora]

Nice, simple, to-the-point. I like it. I especially like the pink in the drapes in the BG, nice touch. Motivated from anything or just pretty?

Thanks Chris...

I looked for this "exotic" Humid Summer Night feel, so I added touch of Lavender to the Exterior. It mixed with Interior Candle color and created this pinkish (magenta) ambiance.

I guess we get lucky sometimes.

[Chris Keth]

I don't like to rely on it, but sometimes it IS better to be lucky than to be good. Or at the very least, the product of luck teaches us to be good.

[janusz sikora]

I don't like to rely on it, but sometimes it IS better to be lucky than to be good. Or at the very least, the product of luck teaches us to be good.

 

So do I... I take "lucky" anytime! Love that feeling of "lucky" revelation.

[David Tilburey]

Candle Light

 

Cross 1Ks fresnells as Candle Light

 

I really like this shot, can you advise of the location and setup of the 1Ks please?

[janusz sikora]

I really like this shot, can you advise of the location and setup of the 1Ks please?

 

Thanks,

1Ks are 45 Degree from both sides of the candle. Low angle as to approximate direction. 1K on the right illuminating person on the left and 1K on left illuminating person on the right.

[Chris Keth]

Thanks,

1Ks are 45 Degree from both sides of the candle. Low angle as to approximate direction. 1K on the right illuminating person on the left and 1K on left illuminating person on the right.

 

To elaborate for David, one lamp acts as the key for person 1 and the edge/hairlight for person 2. The other lamp acts as the key for person 2 and the hair/edge for person 1. There are often (not necessarily, have to ask Jansik about this situation) nets involved so that the edge and hairlights aren't too hot.

[David Tilburey]

To elaborate for David, one lamp acts as the key for person 1 and the edge/hairlight for person 2. The other lamp acts as the key for person 2 and the hair/edge for person 1. There are often (not necessarily, have to ask Jansik about this situation) nets involved so that the edge and hairlights aren't too hot.

 

thank you very much.

 

David Tilburey

Camera Assistant

Brisbane, Australia

[Chris Keth]

thank you very much.

 

David Tilburey

Camera Assistant

Brisbane, Australia

 

No problem. It's so useful it just might be the most important classic setup you'll ever learn.

[Natalie Saito]

:) Yep. I had read some months before this shoot that you could drop the heads in water. I couldn't find that reference when I was considering the shot for the music video but with my layman's knowledge of electronics, I presumed that the high frequency of these instruments creates a very small electrical field in the water. So, I just did an acid test:

 

I weighed a c-stand with the head in the water. (It floats, BTW.)

 

I had an electric ready on the ballast switches, a grip ready to knock me clear, turned it on, and reached in the water...

 

Nothing. I didn't die, at least not this time anyway.

 

We had the Kino's, the actors, my camera assistant and myself in the pool with no ill effects. The only time I got a buzz was when I was adjusting the instrument within the water and adjusted one of the power clips on the end of a tube. I got a very slight shock, not even enough to make me clench.

 

Someone took a picture of me in my bathing suit adjusting the light. I'll see if I can find them.

 

A final note: Be sure to fully rinse your Kino heads off after being dunked in a pool then let them drain and dry in the sun. The chlorine corrodes the metal parts and the corrugated plastic housing holds water within all those tiny channels.

 

wow is there a pic of all this..i'd be interested to see it. :)

[Michael Morlan]

wow is there a pic of all this..i'd be interested to see it. :)

 

Not sure why this was cross-posted to this thread.

 

It's probably inadvisable to post the set pics in this thread since we were discussing the safety of submerging Kino heads in water. See images and commentary in this thread:

 

"underwater lighting safety, submerging kinos?"

 

Here's a frame from the video:

 

 

o Kino 4' 4Bank left and right under water.

o two Tweenie's (one with +1/2green raking across water to create caustics on talent/set

 

M

[Sam Kim]

Here's something from a very low budget music video I gaffed a while back. This picture is a very contrasty still I took with my digital camera, not a frame grab, so it's only a poor approximation of the final shot:

 

This is a good example of what you can do with only a modest "student-sized" kit. The girl's key was 2' 4-bank kino, tungsten with 1/2 CTO and diffusion inside the doors. You can see we added a solid topper and improvised a flexfill as a right-sider (we were out of flags for this setup), and a double bottomer to take the heat off the front of the bed.

 

Over the dresser was an Arri 300 fresnel with some kind of CTO, boxed in with the barn doors to a slash, supplementing the glow from the candles on the dresser. On the floor in the corner was another kino covered half with blue, half with red gel to supplement the glow from the hanging lanterns. Finally, the left edge was a 650w tweenie with 216 on the doors, and flagged off the wall with blackwrap.

 

I can't remember now the scrim pack in any of the units, although the left tweenie was probably more than doubled-down and the 300 over the dresser may have been on a squeezer. Note the scrim bag properly hung on the tweenie stand on the left -- the scrim bag should ALWAYS be with the unit, so you can adjust brightness quickly.

 

makes sense but with a kit like that bigger places become more of an issue.

when i have small kits i try to think tighter shots or more practicals.

if you're not shooting film you can get away with a lot of practicals.

last weekend we shot inside a trailer. our genie ran out of gas (smart one. the production stalled for 2 days to get some more) so we relit with practicals (i had to beg the DP so we wouldn't' pull a 15 hour day again).

the film was being shot on an HVX200 w/o adapter so we could pull it off just right. looked more than half way decent and we only went 11.5 hrs that day. if we waited the hour and a half for the gas i would of kicked everyone.

[Adrian Sierkowski]

Figured I'd add in one of my set-ups. Might not be anything breathtaking, but, hey, it's something.

 

I have a 650 up in the ceiling which is falling back and hitting the hanger (where the center char's costume was hanging) as well as 2 1Ks outside shooting back in through 2 off screen windows.

There was also a 2K down a flight of stairs (not in picture) and a 1 K nook hanging above (slightly off screen going directly down for a h otspot in the center of the room).

We were shooting 7218, so I was a little concerned about the blue from the windows. I'll be transferring on Friday with the director, so we'll see how i t comes out.

[Eric Clark]

First post, but I've browsed the boards for awhile. Awesome topic. The still I've posted is from a short film I shot on Fuji Eterna 160T (8643).

 

The lighting setups is as follows:

 

1) A homemade chicken coop hanging from above the table with 6 150 W Bulbs gelled with bastard amber.

 

2) Standard work light with full straw punching the background wall up.

 

3) 60 W bulb in the practical fixture on the subject's left.

 

4) Double scrimmed tweenie at camera right up high keying on the subject's face.

 

There are more photos and stills from the shoot. This shot was shot taken on Fuji 100 Speed still stock and the only difference I've noticed from dailies is the dailies are about a half stop under this photo.

In the dailies the "007" on the box in the background falls into black and her face appears 2/3 under or so. It looks much the same but her face is not overexposed. Fuji doesn't lie when they brag about the level of

clarity offered in this stock, the colors were pure (although the reds look slightly different than pictured here), and the image was very sharp. Hats off to Fuji and my first AC.

 

Eric

[Earl Newton]

If I haven't mentioned it, I love this thread. I'm learning gallons.

[Peter Anderson]

Graded digital stills from a test shoot i had today. THe director wanted a crips sterile, over exposed look. Advice and constructive critisicm appreciated.

 

2K Fresnel gelled with full CTB Bounced off the ceiling for fill with an 800 through a 4x4 frame of 216 as a soft key.

The location is a classroom and i used the same 2k/800 combo at the back and a high kinoflo in between. Once the lights where setup i didnt have to touch them for the duration of the test shoot.

Shot on some Vision2 500T Short ends, ill post some frame grabs once its comes back from the lab.

[Michael Nash]

when i have small kits i try to think tighter shots or more practicals.

if you're not shooting film you can get away with a lot of practicals...

 

the film was being shot on an HVX200 w/o adapter so we could pull it off just right.

 

If you're using film with a similar E.I. to whatever video camera you're comparing, it's actually easier to use practicals on film than it is with video. Film handles the highlights better so that the practicals don't burn out.

 

I suspect you're comparing video at E.I. 320 to a slow speed film...

[Chris Keth]

Thought I'd toss a couple things up here, since the topic is still hanging on.

 

The first a digital still from a setup. Tungsten balance in camera. There is a 2-foot-4-bank kino tubed with half tungsten, half daylight coming from frame left. A 1200 HMI gelled with 15 or 30 cyan across a large room frame right. The bartender is lit by 2 2-foot-2-bank kinos tubed half and half sitting on the counter behind the bar. The bottles are getting some halogen practical recessed lights and some rake from the frame left kino.

 

 

 

 

This setup is also tungsten balance in camera, also a digisnap. A 1200 HMI w/ cyan and a 575 HMI w/ a nice jade green are side lighting the crowd. 2 open face 600W lamps are backlighting (or front lighting for this camera position) the singer. One has full orange, one has the same jade green as the 575 HMI. There is a tweenie spotted on the singer that is creating the flare and that you can see in the upper left corner of frame.

 

Edited January 11, 2008 by Chris Keth

[Rich Hibner]

Bring back to life. New member here. Thought I'd share. This was never finished, but I wanted to go ahead and post some grabs.

 

 

China Ball light hanging to the right of talent I believe a 150w CFL

 

 

Natural light right around the sun setting. Nothing else.

 

 

Natural light, color corrected in post. Was blueish color.

 

 

150 watt bulb on the passenger side outside of the car with blue gel in front. Got a greenish look to it, cause I never CCed any of it.