Francesco Marullo

Hello everybody,

I made it but in the way for super naturalistic light.

I used two of wind ups (with wheels) with junior arm (that can load max 10kg for 3 meter of extension) and putted 2 skypanel (once for a windup) at the side of window, when I was in cu I used a diffusion frame, balancing light for exterior. Then used black solid at the opposite side of windows.

Was perfect and dramatic. (Maybe too much but was good for this projects)

Thank you for everybody!

See ya next proj

A M18 book light wont provide sufficient output to balance windows without treating the windows. Anything short of a 6k Par will require that you put Rosco Scrim or ND on the windows. For example we lit an episode of Electronic Field Trip, with then First Lady Laura Bush leading a 4th grade class garrisoned in the Mess Hall of the Navy Barracks overlooking the USS Constitution.

 

 

 

 

Then First Lady Laura Bush leading a 4th grade class in a science experiment.

Given the importance of their special guest and the scenic setting outside the windows, the show's producers wanted the USS Constitution to be seen clearly through the windows. Under the circumstances it was a difficult task to create flattering light on the First Lady, while balancing the interior lighting to the exterior, so that the USS Constitution would be seen clearly through the windows.

 

 

 

Navy Mess Hall overlooking the USS Constitution and Boston Skyline seen clearly out the windows.

What I did was rig Kino Flo Flat Head 80 fixtures (4- 8 tube fluorescent lights) flush against the ceiling over each table as high frontal key lights for the participants around the tables. The lights were then dressed with black show card so that they looked as if they were permanent fixtures.

 

 

 

Opposite wall of Mess Hall with Flathead 80s and book lights.

To fill in this soft high frontal key light, we then rigged 6x6 book lights with 4k HMI Pars. A light source that large creates a wonderful soft light that doesnt throw shadows, which was important because cameramen moved constantly back and forth in front of the book lights. Not only were the book lights very clean looking, with the light and hardware hidden from view, but if seen reflected in the large plate glass windows, they looked like a window on the opposite side of the room. The final ingredient for success was a layer of ND 9 gel on the plate glass windows overlooking the USS Constitution to bring the exterior levels down three stops and in line with the pumped up interior.

 

 

 

A 4k HMI par bounced into ultrabounce and then through silk makes up a super soft booklight.

Where it took a 4k Par book light to provide just a fill level after gelling the windows with ND9, you can see that you need a lot more light than you will get out of a M18 book light to balance interiors to exteriors. The problem with using larger HMIs (2.5-6kw) is usually powering them. If you know how, you can plug them into wall outlets that are available on most locations.

 

Guy Holt, Gaffer, ScreenLight & Grip, Lighting Rentals & Sales in Boston

Okay, I think it's a very bright lighting but useful!

I want shot naturally: you see a window, you should put a fake bouncing of sun (a flathead 80 or skypanel s-60 leaning on the floor with a frame 3x3 250 (or bounced by beadboard then diffuse ).

I think a 18hmi isn't a very bright to have a super detail on the face's actors but could help me. What do you think about 2500kw of arri (called D25 arri)? Because it have more output than M18 (D25 it's a very old lamp).

Francesco

Do you mean the normal exposure for a window view? It should be more like T16 at 25ASA. You won't balance that with a reflected-then-diffused Vistabeam.

 

Instead of bouncing an AS18 I'd shine an M18 directly into a 6x6. Basically the same light quality but more output.

Okay,

25ASA and T16 usually, receveid!

So, which one of texture I should use for diffusion? an half grid texture, isn't true?

Then for left side of face's actory, I thought it's useful a beadbeard 6x3 from floor.

Can you give me an advice for gel on M18?

Thanks,

Frank.

http://imgur.com/a/dzuh6

You can see photos there, in link.

For now, I've been there but was cloudly at exterior, naturally it's perfect (soft), then I saw some skylight at the roof, with clouds was perfect.

But probably, we'll have a sunny day (11 april). What do you think about my system:

- from left edge: I should put an arrisun 1.8kw, hitting to diffusion 250 frame, then to butterfly 6'x6' with half grid texture to have a soft light but an high output light.

- I should put arrisun 1.8kw from left (of camera) oriented to right side hitting ultrabounce 6x6 then diffused by a quarter light grid cloth 6'x6'. (so, with this method I'll have a great big beam but with a risk of dispertion and a low output of light)

ps: Sorry, for now there is a backdrop over the window.

Thanks!!

Frank

Okay, may I should use a lee scrim on windows to let down a stop.

Today I was there, to scouting, and it was very bright location (everywhere are white wall) so I could remove the white fixture for fill but I'm sure that I've to make a powerful source light to have a good 50ire on his face at f/11.

An AS18, at 4meter to actor's face have a f/32 directly.

Can I use it on 6'x6' diffuse half quarter cloth then diffusing another 6'x6' light quarter cloth, what do you think about? Or is too less? How many stops will bring down with this system? Will I have a f/11 on his actor face at 4 meter?

I will post some photo of location.

Trying to balance an interior with a sunny exterior requires quite a lot of light, usually small HMIs. I think you will struggle to get enough light out of the Vistabeam, particularly after bouncing and diffusing it. I would try using just the diffusion, and get the lamp as close to the edge of frame as you can. Depending on the look you want, you could try underexposing the faces by a stop, and letting the windows blow out a little while retaining some detail.

 

A 1.2kw HMI maybe more useful than the Vistabeam.

Because the vistabeam 600 have more power light and beam than 1.2 hmi (vistabeam have same power of 4000w than 1.2kw, is it correct?)

I've written that there are two person on set, a 1.2hmi probably will make a problem because it make too much thin of area of beam, isn't true?

Sorry for my bad English..

Hi there,

I'm working as a DOP on this projects, a dramatic projects.

So, I've shot to two person (sitted on chairs, one behind one) inside a space with a big windows, like 4x4 meters, at the background.

I would like to make a natural light on them, very soft but natural.

In camera, at right side of the shot I would like to put a Vistabeam 600 to ultrabounce 6'x6' frame and filtred by quarter grid cloth 6'x6', to have a key light on right side of face's actors then put a bounceboard or a white cloth oon boom "T" at the left side.

I would like to notice you about that we've a bright background, sunny (in Italy, in this month, we have a 16/22 of iris (at 800ASA and 180 of angle),

the very question is: is it okay? I've to underexposure his faces for one stop than the windows to have a crispy images or same or more? do you have some reference photo?

ah, I've to shot with blackmagic micro cameras.

Thank you very much, cinematographers!

Frank.

Depends on budget. Is the gym on the ground level? Even if it is, you'll need to get your lights pretty high to achieve the beam angle. Now you're talking condors or scissor lifts. Generators for lights. Atmosphere inside. Also, the windows seem higher in your gym compared to the example you attached. You wouldn't see them as much.

If the scene is short enough (or you can shoot there multiple days), maybe use the sun. Even if it doesn't shine through the windows you want. You can re-arrange the gym (hoops look to be mobile) so that it's utilizing windows that get direct sunlight. If you did that, you'd black out any other light source and add some atmosphere in hopes of getting light beams. If it's a short period of time of direct sun, shoot your wides like this and for the rest of your coverage you could use artificial light. Maybe lekos for the window patterns on the floors. Bouncing for fill.

Hi Cinematographers,

I'm using a Canon C100.

I want lighting a gym like this idea (that's so wonderful, i've never done before):

but for this location (i know, it's so bad)

ps: I've made with my Canon C100 and Atomos Samurai Blade (pro res 422)

F

Hi,

My name is Francesco Marullo, I'm from Italy and 24 years old.

I'm on the road about my job DOP, it's so hard but it's my passion :).

I would have some suggestions about this finished work, made with my group of professional and friends.

I know that, in some scenes, miss some crispy effect about the balancing of color and high/medium/low light (i asked some DOP in italy and they have answered about a book of Ansel Adams).

This is a videoclip that we have started with idea about cinema's style, without follow the rythm of music.

At the start of videoclip, I've applied a "mist" filter at the post-production and, I know, it's the bad action that ever did.

Thank You Very Much!

Francesco