This is my first post in this forum. I'm amazed with the wealth of useful information available here!
So, we're filming a short on RED in a couple of weeks, my first RED experience. It is all studio. I want to try and spend as little as possible on kit, as the budget is pretty limited and I can source a few lights for free.
I can get:
3 x 150 DEDOS
3 X Redheads
2 X Blondies
1 1000W softbox
I'm thinking of hiring a diva-lite and there will also be a few practicals.
Apart from a recurring flashback shot in the forest, the story takes place in a bedroom and a living room. We've day, night, afternoon, evening ... the full range. The story is about a couple trying to rekindle their love, with not much succes at all.
The set has a window which I intend to use as my key. This window will be covered by a patterned white curtain, lit by a blondie (I'll get an HMI if I have to, but it's a seven day shoot and it would mean a week on sandwiches for the whole crew). This, and the dark grimy edges I want the frame to have (similar to the scene in Barry Lyndon where he's stone drunk at the gentleman's club), have made me think that I might do well by having a massive overhead softlight with which to even the exposures between the window and the walls. I also want the camera to move freely. It's either this or bouncing, but boncing would cast shadows, and there's no practical on during the day, as they spend quite a lot of time sitting on a table that is placed right by the window.
So, and this is the real question, I've thought of building a rig with a serious amount of either PARs or spotlights, and placing a layer of diffusion underneath. I reckon it'll far easier to control the spill on the walls than if I hang an equally serious amount of chinaballs. The director wants deep focus, so I need light, plenty of it. What do you think?. Also, any ideas on how to get photometric information on par 38 100 W?
Thanks!