Milan Stanojevic

a nice ots

Another pic

Here are a couple stills on set. I color corrected them to show the final look of the film

Don't know if it would fit your project, but what about making the key light a practical? Like an interrogation scene from a classic Film Noir -- where the key is hanging from the ceiling -- and clearly shows up in the master shots.

 

It's dramatic and probably something that lends itself better with black and white. You might also look at what Conrad Hall did in the "torture" scene between Dustin Hoffman and Laurence Olivier in "Marathon Man." Or check out the opening interrogation scene of "Murder My Lovely," which is a classic Film Noir.

I will check out both of those films. Thanks a lot

Actually if I can hang a 4 bank kino flo above the table, I think that would give off a nice look. Gelled green, like you said. I'm shooting this next weekend and when it's done, i'll post pictures.

From my point of view warm light is kind of out of place in an interrogation room. Unless of course the scene filmed is not an interrogation. If it is a love scene taking place there, by all means it could be warmly lit. :D

I'd go for an overall steel blue tone with a little green added to taste. Why not light part of the room with cheap fluros? That way you could even have them in the shot too.

I'd probably have two 4' tubes suspended over the table, visible in the frame, maybe augmented by hidden Kinos. Leave the transparent wall rather dark, silhouettes are nice, but it shouldn't light the room. Have the corners of the room go really dark. Play with the mirror (rack focus from mirrored image to real person etc). I kind of like the idea of a shiny table. could be used to cheat in a little light from below for that sinister look. I usually use a Dedo with 1'x1' softbox for an eyelight, works nicely because I can dim it to taste.

 

Cheers, Dave

I agree with you that the warm light is out of place. The director wanted a mix of orange and green within the scene. I guess I'll just leave the sconces as the only warm element (ignore the backlight). The 1Ks for the silhouettes do not bring much light into the room and I totally agree with you Dave.

Great idea about hiding some lights below. That might work really well actually.

As for the flourosents - I would've loved to have them in shot, but the art direction just can't do it. How do I give the scene that look though? Do I gel my softbox with a tough 1/2 plus green?

I'm going to use one 2' kino bulb next to camera with 216 on it. I am going to determine on set whether gelling it 1/2 CTO, to match the sconces. That of course is when that eye light just needs to be there.

This might sound basic but don't forget to take the reflectivity of the table into account.

 

I just shot an interrogation scene over a glossy black table and found the finish helpful to the look I wanted.

If it were lighter it would have completely changed the mood. Also, I wonder how a matte finish would have looked?

In regards to your comment Bill, I have thought about it. But thanks for pointing it out. I'm definitely trying to get a surface that won't be too reflective. Based on the top lighting approach, I am going to get some raccoon eyes - which I feel fits the story. Too much bounce from the table and I might take some of that away.

Thanks David.

Any ideas on enhancing the lighting to make it more stylized? We're going to be working with a very deep focus, again giving a more cinematic experience than a natural one.

It is in color.

The reason I thought of the backlights is because the movie is to be very stylized (I should have mentioned that). I am more prone to naturalism but in this case the director wants the audience to know they are watching a film. The backlight I thought would add a feel of c.s.i. to the movie, which goes with the overall tone.

Hey everyone.

I'm going to be shooting a scene in an interrogation room. I would just like to have people's thoughts on my approach. I am shooting on 5218 500T and hoping to maintain an aperture of about T 4.0.

The room consists of a 3 walls. The first wall has a mirror about 7'x4' on it. I plan on lighting all around it either with kino flos (I can hide) or with a ring light all around.

The adjacent wall has a door in the center, with 2 frosted glass panels on either side. I want to punch 1Ks through both panels, allowing any outside actors to create silloughettes in the background.

The third wall is rather plain. I would also like to put sconces all around the room to motivate a warm backlight.

In the middle of the room, of course, will be a table and chairs where the actors will talk and move about. The key light will come from above. I want to hang a skypan with a 2k bulb in it and run it through some form of light diffusion. I also want to hang black material around it, so that the light focuses mainly on the table, and falls off towards the walls.

I would like to get a green spike from the skypan, suggesting florescents. I am however unsure of how to do this.

Any comments, ideas, thoughts, whatever...please let me hear it. Thanks.