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Haydn Michael John West

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Everything posted by Haydn Michael John West

  1. Hi - I know this is an ancient topic, but the location for bar scene I asked for help on was changed at the last minute. I spent most of my time light proofing the new venue which had a huge window running 30 feet one side. All the my plans and the advice I got here were obviously of no use. The main mistake I made was not putting the book light close enough to the subject which made the scene look washed out. Here's a photo just to give the topic some closure. I'm shooting another micro micro budget feature this April which I'm stoked about and will be asking for advice and opinion here once more. Thanks to all those who contributed advice.
  2. Cheers Bruce, I'll be starting with the practicals and take a look at it before adding my key lights. Thanks to everybody, its been a great response. I'll show how I got on.
  3. Wow, such a great medley of pointers. Thank you all so much!
  4. Hello, I was would love to hear your thoughts on the best way to expose a bar scene. We're using a the 4k Blackmagic Production Camera and I have no idea how it responds to be under-exposed. The Arri Amira produced very good results in low-key scenes on our last film but the type of film we're doing needed a lighter camera. I've attached an image of the location. As you can see we have a ton of space and there is a beam that we can G-clamp lights to and also a ledge. OTS right there is a bar which has air-conditioners above it which would be OK to tape fluourescents to. We can't damage the walls! The scene is a guy who takes a girl to a really crass, tasteless joint full of pink neon and cocktail umbrellas (I actually like bars liek this but there you go). The director wants to go walkabout with the camera with a DJI Ronin so the lighting has to go above. I was going to gel Osram De Luxe fluorescents behind the bar and high on the walls and then stick a 1k PAR above the table Bob Richardson style. Once that is done, I was thinking just get a rim light raking the room from the far side and have put a four bank Kino Flo through some 216 to fill the profile shot of the couple at the table. If this sounds like an insane way to do it, feel free to correct me, I'm relatively inexperienced and open to suggestion. I liked what Dante Spinotti did for bar scenes in LA Confidential. He somehow achieved great modelling and depth. Many thanks and good luck to you all! Best regards, Haydn
  5. Hi there, Would any of you be able to share your secrets about getting a light above the talent on a feature where the location has a relatively low ceiling and the walls are not suitable for a crossbar. Having a nightmare on location on a low budget feature with tiny set-up times. Many thanks in advance. Best regards, Haydn
  6. Hi Guys, I'm DP on a shoot in Brighton, East Sussex, UK and although the forecast looks OK I want to be prepared for rain and wind. Would you be able to share you're methods for keeping a 1.2k HMI and ballast safe and dry when shooting outside in the rain beside the sea and the same for a 2k tungsten fresnel? If you want to use a 6ft butterfly with gridcloth to diffuse the light (it's for a beach scene) aside from guy ropes is there anything else that can be done to avoid turning it into a big expensive kite? Many thanks in advance for sharing your thoughts. All the best, Haydn
  7. Thanks to all for the superb response. All appreciated!
  8. Hey Bill, thanks for the input. Turned out to be a catalyst for more discussion too.
  9. Satsuki, so much to work with in your suggestion. Thank you.
  10. Staurt Brereton, I often forget about pancake Chimera's. So quick with the skirts. Thanks.
  11. JD Hartman. Nice qucik and efficient option. Getting spoilt for choice here and moving towards speed but the response has been so gratifying. Thanks to you all!
  12. Hey Guy in Boston. I enjoyed your understanding of the scene. Wish we could afford to ship you over to the UK for three weeks in October. But we can't! Damn! David Mullen I like the Source-4 solution for the softness and there is going to be some serious black skirt action with that but the light quality would be great once rigged.
  13. Hey Albion, thanks for taking the time to share your knowledge,I appreciate it!
  14. Hey Bill, the talent will be on the chair to the left and static. I thought about using a small Dedo too Bradley and if it looks good then its a nice fix. Now I'm thinking about putting a chimera above and flagging to the shape I want it. That seems to be the only way to get REALLY soft light cutting in unless others can suggest another way.
  15. Hello, Would any of you be able to suggest how to get some soft, flattering light on the face of the talent in an establishing shot of a room at night while avoiding spill. The lighting is motivated lamps but most areas will be allowed to fall away to near darkness. I've attached a low-resolution image of how I would like the room to look. Also when it comes to the close-up would any of you advise using a small booklight? Many thanks in advance for any responses. Best regards, Haydn
  16. Hi guys, Thanks for the input on this subject. I checked out those workshops Tim Tyler. I can't help but be curious about the exact equipment people I admire are using. The process of speculation does lead to new ideas and I do appreciate your support, so thanks again! Haydn
  17. Don't you think the shadow is too dark for it to be a booklight Albion?
  18. Hello, We're very interested in the lights Eric Kress used for his interiors for The Girl With the Dragon Tattoo (2009). Not the bounced in window lights but the ones used in built sets. Any ideas? Thanks.
  19. Hello Stuart. Thanks for the reply. I was hoping to find out more about the type of tripod to use and how to avoid a judder at the end of the pan.
  20. How to give a low budget film a look for the outdoor scenes without making it look too lit.

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