Stephen Selby

At 0:21 You can just make out the catchlights in her eyes. The Key looks like it is at about 4 o'clock in the shot with fill from about 8 o'clock. They both look like large diffussion frames to me. Either use a large 8'x8' diffussion frame or if you are on a tighter budget use a large white muslin and used bounced light. You could also use a bunch of white chinese lanterns as a bank of these would effectively work as one large soft light. She also has a bit of rim lighting which is most likely coming from the out of focus practicals in the background. The shot lens looks like a 75mm to me - though this lens guessing business is difficult. If however, they did use a tele then the compression of space will make them look as though they are standing closer. Also look out for glasses 0:17, they can give clues to lighting. Clearly this is one large softbox and the glass is picking up the fill from 9 o'clock here.

At 0:21 You can just make out the catchlights in her eyes. The Key looks like it is at about 4 o'clock in the shot with fill from about 8 o'clock. They both look like large diffussion frames to me. Either use a large 8'x8' diffussion frame or if you are on a tighter budget use a large white muslin and used bounced light. You could also use a bunch of white chinese lanterns as a bank of these would effectively work as one large soft light. She also has a bit of rim lighting which is most likely coming from the out of focus practicals in the background. The shot lens looks like a 75mm to me - though this lens guessing business is difficult. If however, they did use a tele then the compression of space will make them look as though they are standing closer. Also look out for glasses 0:17, they can give clues to lighting. Clearly this is one large softbox and the glass is picking up the fill from 9 o'clock here.

I've shot footage in car during drive and also using projection. If you can it is easier to shoot with real scenery using a super-g-glamp or suction mount. Drive slower so there are less pronounced bumps - even driving at 10mph seems like a normal speed. Put lots of white paper over the ceiling or dashboard to increase the ambient lighting in the car so that the contrast between inside the car and outside aren't overdone, or ND gels over the windows. Obviously this depends on the complexity of the shoot - I don't recommend driving and acting at the same time on roads without towing it on a platform. Projection is difficult. I suggest two projectors - one projection screen set up to reflect into camera side window. The other onto a screen in the background. In the daytime you can get away with greenscreen in the background. It looks like the above was done with greenscreen in background plus a digital plate superimposed for reflections. Lighting looks as though they put a soft light on the bonnet of the car.

Hi Guys. I'm new to this forum. I'm struggling to light a scene and wondered if you have any suggestions. I have two solutions but neither one seems to be working. Here is the layout of the rooms and action taking place. So the main character walks into a room. Initially the camera sees a darkened room then as the door opens the light sweeps in and spills across the bed revealing the second actor in the bed. He moves towards the chair and sits down before switching on a bedside lamp. Solution 1. Before the door is opened it would be nice to see some of the room in darkness so I put up a soft light at the window (assume shooting at night). Next I placed a nice hard dedo-light so the shadow boundaries are nice and crisp - as the door opens we get a nice spill of light across the bed and the spill goes right across the second characters face - it looks fairly good. The boundary of spill is shown by the grey line. However, as the main actor walks passed the door he ends up being overexposed. Given the room available it isn't really feasible to move the dedo back and scrim it. Solution 2: So this solves the issue of the character being overexposed as he walks past the camera. However the spill in the shot is significantly reduced so that when the door is opened the shadow of the edge of the door only goes across the first part of the bed and doesn't reveal the second characters face. Any suggestions how I could light this? Best Stephen