Gary Yong

Hello Everyone, We're shooting a film called 'Lighthouse', about lonely, abandoned people wanting to belong and the visual style is stylised and rich, using colours for symbolic purposes and to parallel the narrative. We are shooting on Eastman Vision colour negative 16mm tungsten film. We could gladly use any advice or comments on these various lighting scenarios. Day for Night -the scene is set in a dark night-time back alley and we can't afford access to heavy equipment to light at night, so here's our plan: shoot on an overcast late afternoon, leave off the 85B filter and time out most of the blue later, leaving enough for a subtle tint. Underexpose in post, shoot low angles, and pretend there are no street lights. A character smokes a cigarette, how and must we backlight the smoke in order to see it? Are there better ways to create a bluish tint? -there is an important shot of a red-lit window as seen from the alley up. The building manager will allow the flourescent lights to be kept on in one of the rooms, but we face a dual challenge of making the window light bright enough for the DFN and turning it into a brilliant red, even bleeding into the night. Our visual effects supervisor says the light can be easily replaced red in post, and as much as we trust him, are there alternatives? Dirty yellow green lighting -the scene is set in a stairwell with old dirty yellow paint splattered and peeling off the wall. It involves an East Indian, dark haired and skinned actress and a Caucasian actor. There will be a mix of flourescent 3000k practicals mounted on the walls and tungsten lighting. We can gel the tungstens to match the fluorescents and I've been told the lab can correct the flicker. Any cause for worry? Should I gel on for the additional yellow green lighting I want, or leave it to post? My concern with post is that the yellow green will be blanketed on all the composition. Red Lantern lighting -the scene is a dark office lit only by a red Chinese lantern (we could motivate light from a window too if necessary). I want to create rich, warm red lighting, and an important shot has the red light falling over the Caucasian actor's face. Our plan is to provide a widely spread soft base illumination with China Balls, and in the wide pump alot of light into the red lantern to make it stand out. I have a 100W reflector floodlight for the lantern, will it be enough? In the closeups, is it a better idea to put red gel on tungsten lamps to simulate the lantern? Thanks very much in advance for any help.

Hello Everyone, We're shooting a film called 'Lighthouse', about lonely, abandoned people wanting to belong and the visual style is stylised and rich, using colours for symbolic purposes and to parallel the narrative. We are shooting on Eastman Vision colour negative 16mm tungsten film. We could gladly use any advice or comments on these various lighting scenarios. Day for Night -the scene is set in a dark night-time back alley and we can't afford access to heavy equipment to light at night, so here's our plan: shoot on an overcast late afternoon, leave off the 85B filter and time out most of the blue later, leaving enough for a subtle tint. Underexpose in post, shoot low angles, and pretend there are no street lights. A character smokes a cigarette, how and must we backlight the smoke in order to see it? Are there better ways to create a bluish tint? -there is an important shot of a red-lit window as seen from the alley up. The building manager will allow the flourescent lights to be kept on in one of the rooms, but we face a dual challenge of making the window light bright enough for the DFN and turning it into a brilliant red, even bleeding into the night. Our visual effects supervisor says the light can be easily replaced red in post, and as much as we trust him, are there alternatives? Dirty yellow green lighting -the scene is set in a stairwell with old dirty yellow paint splattered and peeling off the wall. It involves an East Indian, dark haired and skinned actress and a Caucasian actor. There will be a mix of flourescent 3000k practicals mounted on the walls and tungsten lighting. We can gel the tungstens to match the fluorescents and I've been told the lab can correct the flicker. Any cause for worry? Should I gel on for the additional yellow green lighting I want, or leave it to post? My concern with post is that the yellow green will be blanketed on all the composition. Red Lantern lighting -the scene is a dark office lit only by a red Chinese lantern (we could motivate light from a window too if necessary). I want to create rich, warm red lighting, and an important shot has the red light falling over the Caucasian actor's face. Our plan is to provide a widely spread soft base illumination with China Balls, and in the wide pump alot of light into the red lantern to make it stand out. I have a 100W reflector floodlight for the lantern, will it be enough? In the closeups, is it a better idea to put red gel on tungsten lamps to simulate the lantern? Thanks very much in advance for any help. I think this forum is an amazing resource. Mr. David Mullen, I learnt about colour balance from your postings on this site, when all anyone could tell me in video was "stick the white card in front the camera and press this button." Thank you!