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Found 3 results

  1. I'm DOPing a short film this week, just got back from the first shooting day of 4. It's a drama/thriller short film set in one house, for the duration of one night in the world of the narrative. The main rooms we are shooting in are small bedrooms, and a tiny bathroom. Today I had one of those days where I wasn't happy with any of the shots, I knew why I wasn't happy, but I just couldn't figure out 'how' to fix the shot and make it the standard I am always going for. I'm guessing I'm not alone with this, like anything in the world, you have good and bad days. For example, one of the scenes was a tiny 8x8foot (if not smaller) bedroom, of our main actress on her laptop whilst laying on the bed. With the kit I have available, I was able to raise a 2kw blonde just high enough from the exterior to light the room, which is on the first floor. This usually works for me for larger rooms, however with the room being so small, the light was just thrown and bounced all over the place. It would be interesting to figure out how you would light a similar scene? If you could have any lighting kit what would you chose to do this? Another scene I struggled with a lot was a day for night scene in the small bathroom. We had to tin foil all of the windows to cheat that it was night time, which meant I could only light from the interior. There isn't even a way of getting a light into the bathroom from the exterior even if we were shooting at night. The bathroom was fully tiled with white shiny tiles, so whatever light I had in the room just bounced everywhere once again. I went for a blue gelled LED to give the bathroom a blue tint, and the 2kw with CTO 1/2 on the landing outside the bathroom, to create some colour depth when the bathroom door is opened by the character. Once the character was in the bathroom, her close-up was just flat/boring in terms of lighting. I tried adding a warmer LED to add some contrast, however even at the lowest intensity, this was bouncing everywhere and creating even flatter light on the subject. Absolute mayhem! I guess it would be interesting to hear about similar experiences, and maybe how you solved them.
  2. 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.
  3. Hey everybody, I'm a first time DOP working on a low budget short film, with tight deadlines and could use some help with lighting a medium size industrial type space. Its a dark rectangular room 15ft high high, 30ft long and 16 ft wide with no reflectable surfaces, except for the front wall which has a large white13x13 ft film screen on it, which I am thinking of using to bounce light off. Using 1k arri and a second light. Or a 4x4 bank kino flow. My lighting arsenal consists of two 1k tungsten fresnel arris, a 700w open faced arri, a 650w and 300w arri fresnel. And two Kino Flo 4x4 Banks. (tungsten) Some background info: We have one day to film and have 14 shots to do. The director wants a gritty realism feel. I want to keep the back ground lights stationary, to one side of the room. To create an ambient low light atmosphere through out the room. I was planning to bounce two Kino Flo 4x4 Banks off the walls, but since the walls aren't reflective bounce the kino's off foam core from the ceiling corner or just aim both Kinos at the scene from up high? Or should i light a 1k arri through a 24x36 silk to create a broader softer light source? As a key light I want dramatic directional lighting, slightly harsh. But with some fill so the shadows aren't jet black, and try to get the shadow edges a little feathered. For closeups Im thinking to use a 1k arri as a key 7ft high at a 45 degree angle with a 650w arri diffused from the barn doors as fill on the other side. And to move these two lights as needed and flood them out for lager groups off people. Any insight or opinions would be most helpful. * I have included a photo for reference of the room, on shooting day the room will be empty and darked out. Cheers, Mike
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