venix

Sorry again, forgot to add that it is going straight to telecine and not being transferred to a print. Thanks

oh sorry i forgot to add. I am shooting Kodak vision 320T on super 16

Hi, I am a student and I am shooting a scene which takes place in a small men's room. Its a scene where a character pulls a gun and fires it at someone to show him that he wont die if its not his time (there is one bullet in the gun) resulting in the other characters emotional awakening or some such. Here is a picture of the floorplan http://groups.msn.com/locationpictures/sho....msnw?Page=Last The room is full of fluroscent tubes two over the two stalls. One in the room next to the stalls and two over the urinals, two on the opposite end of the mens room. The director wants to harness the green that some fluro's give off. We are thinking of taking out all the tubes except the two tubes above the two stalls and position the actors side on to the stall's. Then maybe add a really diffused 650 w omni with 1/8 or 1/4 plus green gel on it. The walls have a real nice texture with tight white bricks but the director wants it dark in the upper corners of the room and with green in midtones and shadow but not so much highlights on the actors. All the tubes are cool white tubes and we are going to do tests to make sure they look green but will the added tungsten green cancel out at all any of the green coming of the fluroescent's? I am shooting in Australia so i dont think flicker will be a problem I want to give the characters dark pools in their eyes and one of them is a large bald african american male in a cream suit, the other is a caucasian male. We are shooting tests there soon so hopefully il get more of an idea then but any advice is highly appreciated (Apologies if this post does not make much sense)

we have to shoot at night as they have tours during the day :( So what will the tungsten do to the flurous? Make them warmer? Very noticeably? We are going down there soon to shoot a few tests of the flurous soon. Cheers

Hi there, i am shooting a scene in a prison corridor and i plan to have a 2 k fresnel beaming through each of the two doors to simulate daylight (we are shooting at night) you see on the side of the corridor. However i quite like the green tinge some fluro's seem to give so i would like to use the fluro's you see in the picture as well. My question is will the tungsten coming in through the doors alter the green tinge coming of the fluro's? Regards, Venix

Yeah we plan to put a big white poly at back door there in the corridor and bounce a couple of 2k blondes of it and just make it blow out. It should act as a backlight. Thanks for all the advice

Nah that net up top is fixed in place for the cage. So you reckon we should use some lights for the closeups eventhough wel be shooting in daylight? In the corridor wideshots if the blondies and redheads are shining through the doors and windows it wont make the smoke from the cigarette turn out? Cheers, Venix

Thanks David! So the way i think wel light the corridor is to put a big white poly at the very back door there and have a 2k blonde bouncing off it. Another 2 k just outside that door shining through and maybe a redhead inside each of those two cells shining through those little slits. With a bit of atmospheric haze to get those nice beams. We just want our character to be walking down this corridor to be in a soft silhouette but with a bit of light hitting his side through the door so you can make out some of his features. He will be smoking a cigarette as well and we want him to leave kind of like a trail of smoke when he walks. Anyways, great help so far Regards, Venix

So what im thinking is, for the tight shots, just soften the shadows from the cage with nets and stuff then just remove them when i get to the point in the script when its not a secret(to the audience) that he is a prisoner anymore. Yeah now that you mention it the shadows dont seem like to much a problem anymore. We plan to go to the location for a full day and just take photos of it from every angle we can think of about every hour from about 8 till 5 pm. Then just study them to make sure we know where the shadows will be and when and all that. ONe question about the 2k Blondes instead of the 2.5 K HMI. Will it make much difference visually that thre Blonde is not as powerful as the HMI in just intensity? I would of course test this before hand but i can only budget for hiring the HMI for two days and we will have done all our camera tests before then. Regards, Venix

Thanks for that David. I think you just saved me some money :) Here are some pictures of the actual location il be filming at The corridor with the beaming door Same corridor, different angle The barred door The outdoors cage with the potential shadow problems This is what the top of the whole cage area looks like Another angle of the cage All comments appreciated. This board is the best! Regards, Venix

Thanks for the replies so far! I guess the only problem with the cages might be lighting continuity as we arent shooting in chronological order. But i think i may be able to avoid to much error because the first half of the scenes in this area are all tight shots so as to hide the fact that the character is a prisoner. As for the corridor its basically just one long corridor with one big bared door on its left side. There are cell doors but they will be closed, so pretty much all the light will be coming through the door. Would just a 2K Blonde or maybe a 5 K do the job? I just always thought a HMI gave a better looking kind of daytime looking light, or doesnt it really matter unelss im shooting daytime stock? Thanks for all your help so far!

Oh also forgot to add. We are shooting 100T V2 for the daytime exteriors and 500T V2 for the night for day interiors.

Hi all! I am about to shoot my first short film and one of the scenes takes place inside a prison corridor at night time. We are going to place a 2.5K HMI outside shining in through the barred door and windows in the corridor and probabaly add a bit of atmospheric haze to get those nice light bars. Basically i want it to look like its daytime outdoors but very dark and murky indoors. The character in the scene is supposed to be standing just kind of outside of the light, almost avoiding it but i still want you to be able to make out some of his facial features. I figure il just have him standing just in the light shining onto him through the door. Since its not so important for the character at this point that you see his eyes or anything i figure best to just light the scene and place him within that, most the shots here are relatively wide as well. Also another location we are shooting are these cages (these we will be shooting at daytime and outdors) The problem is there are many many shadows and stuff from the bars and cage like confines around us. Most of the scenes out here are very tight shots but there are a few wider shots to. But most are tight shots. Im not sure exactly what im asking here but i would appreciate any expertise on how to avoid problems with these two scenarios. Id put up pictures of both location but i dont know how. Whomever posts il just send you some pics :) Thanks!