Sergey Block

Thanks!

Do you mean flicker shooting with HMIs? Will Flicker-Free mode on a ballast solve this problem?

Thanks for your answers!

It's a good ideat to build a pool outside! But, as I understand, it'll be not so good if I shoot a greenscreen reflection on the water or other mirror surface? (like on the picture below):

That is why I should shoot a some kind of top angle in that pool?

In case of stage set what kind of lighting will you recommend to use for ambiance for high-speed shooting (300fps)?

And is there any approach to calculate how many fixtures I shoul hang per set area (20m x 40 m for example)?

Hi!

I have 3 set-ups in a greenscreen stage:
- 3 girls walk on water (on 3m x 6m pool);
- walk on a wall of skyscraper (on 4m x 10m piece of mirror wall);
- stand on the roof of skyscraper.
All of this must be wide-shots shooting in different angles and movement of a crane.
This shots will be combine with shots of real river, real skyscraper and high angle view of the city.

I need some advice with greenscreen and day effects simulation.
In a stage I have to simulate overcast and sunny day.
What is the best natural and simple way to simulate an overcast day: spacelights or big batterfly frames (or maybe something else)?

1) in the case of spacelights:
a] is there any formula to calculate how many fixtures I have to hang by set area?
b] any formula to calculate an exposure with spacelights?
c] I want to add a little cool quality to a sunny day. Is it real to cover all (or half) spacelights in 1/2 CTB? Is it common way?

2) in the case of butterfly frames:
a] how much area of frames will I have to have (taking into account the set area)?
b] will it be more naturalistic either light through frames (silk, etc...) or light in reflection?

3) I have several reflection surfaces in a set: mirror floor (4m x 10m) and waterpool (3m x 6m) and I have to shoot this set-ups in many angles. Are there any advices about working with such kind of surfaces and greenscreen/lighting approach etc.

4) can I use some lens diffusion with greenscreen?

Thanks for answers!

Thanks a lot for all your answers!

Great! It's so simple and powerful approach to use one source for the whole scene!

So, when you shot "his" direction (from wide to close-up) with the 4K backlight, you moved that 4K for backlight "her" direction?

Thanks you for your answers! It's so helpful for me!

So, as I understand, it'll be good for me to have prepared backlight for reverse shot.

Miguel, do you mean "to use practical lights and maybe placing 1Ks / 2Ks on them" I'd can place 1K on the lamppost (for example) and take it with 1K in the shot?

David, could I ask you some clarifying question base on your work?

What was your stratgy for lighting this scene in the "Smash"?

Did you pre-rigged some lights in both direction? (and what light did you use?)

Thanks!

Hi!
- I have some questions about lighting, logistics and time-saving in production.

For example, I have a standard two-person dialogue scene. There are 3 shots:
1. Wide shot (two actors standing one before another)
2. OTS MS of 1st person (man)
3. OTS MS of 2nd person (woman)

So, in the wide shot I have the main source coming from behind the actors and rigged to the top of the window.
After I move to OTS MS of the man, I have the key soft source on the ground (from the left) and add backlight.
Then, when I turn to OTS MS of the woman, I have a flat light on the nape of man and not so noble lighting on the woman's face. Because of that, I should cheat the key light and move backlight from the 1st person to the 2nd person.
Is it normal process in production? Or should I rig some of these lights (backlight for each person) in pre-lighting the scene? Should I plan it on preproduction? Are there any other time-saving tips for such situation?

- And I have similar questions about night scenes.
For example, is's a night dialogue scene in the city street. Two actors stand face-to-face to each other, but 1st actor stands face to camera and 2nd stand back to the camera. The shots are:
1. A Wide Shot (1st actor face to camera)
2. OTS CU of the 1st actor
3. B Wide Shot (2nd actor face to camera)
4. OTS CU of the 2nd actor
On A Wide Shot I have one powerful light (18K f e) on the condor, situated far away behind the actors. When I move to OTS CU of the 1st actor I add some soft light on his face.
Then, when I go to B Wide Shot (turn on 180d), what should I do to avoid flat light? Have I got to move the condor to the other side of the street? Or should I order two condors and 18Ks for time-saving?:) Are there any tips for this situation? Maybe any tips for multiple camera set-up?

Thanks a lot for your answers!