Never Let Me Go Cinematography

[Robbie Fatt]

Thanks Stuart. I'm actually shooting in this church I have attached. I have only access to tungsten lights and don't have any CTB at the moment. Is it even worth lighting? Churches have great natural window light.

 

 

[Stuart Allman]

It has such nice light already. The only issue you may have is the daylight changing and not giving you enough shoot time. If you can constrain your shoot day to mid-day then you might be in luck as-is. Just bring in black fabric or a black solid for negative fill and Bob's you uncle.

 

If you're willing to shoot at night, then you might be able to re-light the space with just tungstens. All I can suggest is my initial approach, which likely would need some tweaking...I would first consider a series of 3 x 2k PARs on one side of the room with an optional small amount of diffusion (Opal or Half Soft Frost - i.e translucent shower curtain). Then maybe a series of 3 x 1 PAR's bounced off poly or Ultrabounce for the other three windows (and *maybe* with a bit of blue to represent sky fill). Then it would be a matter of how close to the windows to place the light to get the depth you need. This assumes you have an hour or two to light and tweak to your liking.

 

The nice thing about the architecture is that you have high angled ceilings that you can bounce off. This should make it easy to shape the light on your subjects with a 1k or 2k. Bring scrims, poly board, and black solids for extra shaping of your talent.

 

I think this might get you pretty close, but the trick is that you need to be able to power all those lights. In an old church power circuits can come at a premium. So make sure your gaffer does a good tech scout and your power cords can handle the load and distance.

 

Stuart Allman

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[John E Clark]

Thanks Stuart. I'm actually shooting in this church I have attached. I have only access to tungsten lights and don't have any CTB at the moment. Is it even worth lighting? Churches have great natural window light.

 

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You have a 'split lighting' situation, and may impact the image you desire. If the talent is facing one side or the other... nice even light. If they are facing front or back you will get side light, but may be too dark in the middle of their face.

 

I also agree that one should be careful with power and lighting. With the Wife's wedding business, shooting stills, we would occasionally overload a circuit with our studio strobes (yes the pack mule carried in a ton of stuff for the church formals...). And of course some of the 'romantic' reception venues were older houses...