Creating natural-feeling sunset lit interior?

[Patrick wilder]

@Aapo Lettinenthank you!

I’ll use the Aperture Nova for a low cool ambient fill and punch the CTO gelled Joker2 in through the window as the key and then use the Arri 650s to double as keys further into the space if needed. 

[Patrick wilder]

So, if I understand correctly…

I’ll use the joker2 (gelled orange) as the sun and also the nova 300c for ambient sky (blue) coming through the same window. 

why will these two different color temperatured light not blend into each other? Should the nova have a different direction than the Joker, but come from the same position (outside the one window)?

I'm shooting on 200T 16mm film. 

how far away from the key light do I need to stage window blinds to create the Venetian effect? Is that a matter of getting it as close to the subject as possible?

the kitchen window to the farthest wall is 15ft and I want sunset light to stretch all that way. 
 

thanks!

[Albion Hockney]

I would rate my camera at 7500k white balance or so and just put 1/4 or 1/2 O on the Joker (as to not diminish the intensity). I'd place that light as far as I can from the window to get the least fall of possible inside the room. I'd hang an 8x8 bounce above the window table top'd and bounce a couple lights into it for skylight make them really blue like 10000k... and just mess with the levels of both till I thought it was realistic.  I'd keep a light inside with me to further fill in faces as if from a window off camera and then I'd have a pizza box or 4x4 bounce around to pick up the shafts of "sunlight" and bounce them back into my talent.

it should be noted that the 8x8 over the window might play pretty subtly if its a high contrast scene with direct sunlight, but depending on much of your scene is actually lit by direct sun it might be useful. for example if you have one tiny shaft of the last light from the sun then a lot of dim blue ambiance would be noticeable from the window and that soft light could do a lot of work.

if you only have 2 lights that is a challenge but if you are shooting tight you'll be fine. Just get the sunlight through the window and fill it in ...it will be dramatic looking though.

to get a sharp venetian effect you there neither to use a joleko with gobo or place the blinds maybe 10 or more so feet from the light....depends on truly sharp you need it to be.

Edited April 22 by Albion Hockney

[Patrick wilder]

This is going to be shot on 16mm film with KODAK 200T film

[Aapo Lettinen]

4 hours ago, Patrick wilder said:

This is going to be shot on 16mm film with KODAK 200T film

250D would be more optimal if you have to use the HMI for sunlight. Gelling the hmi down extensively is not good for the colour (partially the reason why I recommended using tungsten for sunlight and hmi only for cold light). But if you want the sharp venetian shadows on the wall then your tungsten package would not be enough and would either need 5k tungsten or have to do with the hmi and too high colour temperature.

If you have possibility to switch for 250D on this scene I would recommend it and then would be easier to make the sunset light with the hmi by gelling the hmi down 1/2 cto and gelling the ambience-creating led fixture up enough to get desired colour temperature difference. I would aim for something like maybe from 190 to 250 mired temperature difference depending on how the ambience is exposed, the exact phase of sunset replicated, etc.

the ambience will be soft light so it will look natural when it is coming through the same window than direct sunlight. The lower the ambience is exposing the colder it usually looks compared to the real temperature difference, thus enhancing the colour temperature difference even more

[Patrick wilder]

Thanks 

[Aapo Lettinen]

this is shot on panasonic s5 +atomos but this is what I like to do with vnsp par cans. the far background is 1k vnsp par through window and the mid ground is a 800w redhead from the doorway on the right. the foreground close to the camera is a 2k blonde through the window on the right. cold lights are small led and bounced hmi.

Those small bright sunlight spots are perfect for vnsp if having them around and extra electricity available to power them and very warm sunlight is ok for the look, I nowadays just like to use the tungstens ungelled to get all the punch out of them and just gel the other lights if needed and block the real sunlight which is wildly different colour (though sometimes it just does not matter and I let the real sunlight mix for extra effect). I usually carry from 2 to 4 of those par cans and two of the 2k blondes, sometime 3 if needed

Edited May 29 by Aapo Lettinen