Jump to content

Brant Hadfield

Basic Member
  • Posts

    2
  • Joined

  • Last visited

Profile Information

  • Occupation
    Cinematographer
  1. Thanks Mark! Yeah, I've been concerned about the light loss with the gels. So I'm going to get another 2k. My thinking in doing the gels is that any reverses that see the opposite side of the store will be getting the real daylight, so that may require I gel. Either way, the flashlight will also be providing a "practical" spot for the actor as he reveals what's in his pov. So I'm thinking that light will need to be 32K relative the artificial outdoor light. But that said, your suggestion could still work by simply gelling the flashlight CTO and keeping the "daylight" un-gelled. Then I balance to the very warm flashlight. The daylight I'm providing would be just enough for a very low fill, and enough to glean a little from the metal shelves.
  2. I am tasked with lighting a large space which has virtually no practical light, with motivated light. There is one set of glass double doors, at one end of the grocery store. That area receives daylight spill inside. I know I will need to create, off-camera, another virtual daylight window source. This will motivate light onto the metal edge of empty rows of shelves, and maybe a little light onto a wall in deep background. I have very limited $ for instruments. I will have 3x 2k blondes or slimlines. I will have 3x 650s and a couple 300's. I will need to half-blue the tungsten, as the actor will be holding a flashlight, and I will balance for the flashlight or 32k. Should I use some kind of diffusion on the instruments hitting the shelves? Perhaps aim two slimlines through a 4x4 of diffusion or grid? Direct the other for a broad casting on the back wall? I do not want this light to appear coming from a bulb, but rather dim, diffused daylight from a small window which is not really there. Obviously I know I need to use the power of suggestion, as I will not have powerful HMIs to create the daylight source. I'm thinking of edging the actor's back and side of face fairly hard (again suggesting a daylight source not really present), and maybe bouncing low wattage off the floor to the side nearby for a little dramatic soft fill. Again, all with a blue daylight cast. A bit of Alien perhaps? I've not had to light something like this before. Am I on the right track? Suggestions?
×
×
  • Create New...