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  1. How did Roger Deakins keep the scene and the characters so organized and easy to follow during the chase scene in the last act of 1917? The chase begins just after George MacKay strangles the German soldier (about page 91 in the script). It seems like an impossible cinematographic challenge—low, shadowy lighting, constantly moving camera, all the characters about the same size and shape; yet it's clear the whole time who is doing what. Were there any particular techniques used? You can watch the sequence here: https://www.youtube.com/embed/wlbJZQQJ528
  2. Hey there! Right now I am prepping a shoot that has a scene in a snowy winter forest. Originally the budget was available to really light a large section of the forest up with artificial moonlight and call it a day. But now, the shoot has been broken up into 2 units shooting all the snow exteriors on location for a fraction of the budget (Just a little bigger than skeleton crew) and then all the interiors on a stage in a city that has more production resources for that can work with the budget. The project is a dark/horror theme with vampires in the forest about to bite a deservin
  3. Hi, I'm looking to shoot a night interior scene and had a few questions about practical bulbs. 1. Is there a specific brand of bulbs that will work best? Or you can recommend? 2. Whats an ideal wattage for the bulb? 2. Do frosted bulbs work better? 4. Do I have to worry about tungsten bulbs flickering? 5. Is a dimmer necessary? Thanks!
  4. I'm working on a short film and the main location is a forest, at night. Most of it is set on a muddy road with trees surrounding either side, but there is a little section where our main character is running through the trees. My question is in regards to lighting, and what is the suggested method of lighting for this type of location? On previous projects, we have blasted 4 x 2Ks through the trees from a distance and used a smoke/fog machine for different looks and to help spread the light. We also used smaller lights for tighter shots, but I have found that this can often lead to qu
  5. Hi! I am currently doing preproduction for a music video. It’s a horror themed music video set to reggae music. Half of the music video takes place at night. There’s a campsite scene with a bonfire and the rest of the night scenes are at the woods where the band members are exploring a creepy dark forest and eventually chased by a monster. I would like to ask for suggestions on how to light certain scenes and shots :) I did a lot of research on lighting ideas for bonfire set ups and moonlight set ups and there are various ways to do them but I’m not sure which style can work with the limited
  6. (Reposting this with new working links of my references and photos of location cos I couldn't edit the first topic. Sorry!) Hi! I am currently doing preproduction for a music video. It’s a horror themed music video set to reggae music. Half of the music video takes place at night. There’s a campsite scene with a bonfire and the rest of the night scenes are at the woods where the band members are exploring a creepy dark forest and eventually chased by a monster. I would like to ask for suggestions on how to light certain scenes and shots :) I did a lot of research on lighting ideas for
  7. Hey, quick lighting question. I am shooting a music video, and the concept heavily involves a sprinkler in a park at night. The talent is supposed to “dance” with the stream of water as it circles around the grass, and eventually passes over the talent at the end. Like “Singing in the Rain” but with a sprinkler at night. We have a location with a sprinkler that puts out a lot of water, but I’m having a hard time lighting it so the stream of water shows up on camera as a solid mass. It just looked liked it was raining, but it needs to look like a wall of water moving closer and further away.
  8. Hey everyone, Since this is my first post in here, I'll quickly introduce myself: My name is Benedikt Dresen, and I'm a Filmstudent / aspiring Cinematographer from Germany. I started out doing music videos, but now I'm getting more and more into narrative work. Right now I'm in Pre-Production for a 14-minute Shortfilm I'm DoP'ing. The film is set at night, only in one apartment, which will be built on stage. It's about a woman entering her home, where she find a complete stranger waiting for her, who's intentions remain unknown. The whole story unfolds through dialogue, but the blocking wil
  9. Hi guys! Okay so I have a shoot coming very soon. One particular scene is in a garden at night, with friends around a table eating & in conversation. Its gonna be 10/12 seconds in the final video. So I want to put up hanging lights between 3 palm trees in the location with the characters underneath the lights. I tried looking in to research for other DP's who have done this look quite nicely. Deakins in Sicario I found he used 40 watt bulbs and there is quite a lot of them (plus light bouncing back down off the ceiling). Here is an image for reference: So here is now my location.
  10. I have the spectacular challenge, due to budget, of attempting to match day for night to our night for night footage. I have a feeling this will end up being a sad time in the DI where my night for night is graded to look more like day for night, but what can you do. My biggest concern is matching quality of light as best I can. I know the rule of thumb is generally to get some spots of day light light while avoiding the sky. Some of the matches will be for ECUs which I'm not as concerned with, but the wider matches are what I fear the most. Any and all suggestions are greatly appreci
  11. Hello! As a very little experienced cinematographer, I have been hired to work on a very small budget short movie. It will take place in the countryside at a bus stop next to the road during the night. I talked with the director about the look and tone of the lighting and we agreed to go for a specific look. The bus stop will be lit using something like one or two Kino Flo 2 bank located at the top (like this scene from the TV series 'Dark'). For the rest of the shots where the two characters will not be in the bus stop, I want to create the kind of look we can find in the photog
  12. Hello, I have a question about how to light a party scene. It takes place at night, mostly in a living room and dining room. People mingling throughout. Think cocktail party vibe, not rave ;) We need to have some flexibility to move around catching people's conversations which will include some improvising. All handheld. We want this to look natural and a little moody. I can use practicals to motivate the light in the scene and then augment it when possible but I think I'll need to add some overall ambient just to bring up the level in the room. Any suggestions on how I can
  13. Hello Everyone, My name is Vicken Joulfayan, and I am a new member here! I am a graduate student at the New York Film Academy in the Masters in Filmmaking program but my focus is primarily on cinematography. I am the DP for seven master thesis film projects, two of which are scheduled to be shot in the next several weeks, and am in need of advice for lighting. Although I have researched a lot and have a general idea of how to light each project, I need your advice in deciding which exact equipment to rent. The projects have budgets but they are minimal. I've embedded links to the first tw
  14. Hello, I'm working as a gaffer for a student film this January. The story is a drama/thriller that follows a man who dies and becomes trapped in a sort of limbo state of being. It's dark. It's fantasy. Our budget is very modest, but I'm very interested in using half hampshire on the windows for all day interior scenes - I love the blur it gives. However, those scenes make up only 30% of the film and the rest is night interiors. I'm wondering, can hampshire be used on windows at night to any great effect? I've looked into using dirty water and a spray bottle, but I imagine it will lack
  15. Hey all, DPing an independent short come December 9th-11th. There is a small Interior Night scene on location, where I would like to simulate stormy weather outside. I would like to do something like water in front of a fixture, but how can I achieve this? We will likely be using something like an Arri 1K with Urban Vapor gel outside the window to simulate a street light. Won't be shooting towards the window, so the rain effect will just need to be a texture. Also, would like to simulate thunder, in combination with the street lights. We'll have a couple of SPE-6 Flickermasters. How ca
  16. Hey, everyone! I'm wondering how to light an area. Or, more specifically, how to color-balance it. I'm going to be shooting digital, but I'd also like the answers for (tungsten) film just to know in the future. I'm going to be filming in a particular bar (if all goes well—pray for me, please) which I've built the whole thing around. It has lamp lights and ceiling lights which appear to my eye to be incandescent, or else LEDs which look incandescent (I didn't check in the lamps). There are LED (?) panels which I'm told change color (I plan to work that in). And then there's the light from
  17. Hey guys, We're preparing a shoot and I would really need some advice and suggestions on how to go about lighting this. My knowledge in interior lighting is a little too limited to make a call without checking in with other experienced cinematographers. The scene we are shooting is a dance scene between a spirit and a little girl, in a forest, at night in an incredibly dense fog. We're shooting indoors, in a large horse ranch, not letting in any lighting come in from the outside, filling the entire place up with fog, setting up a circular dolly and having most of the dance take place wi
  18. Hi all, I just wanted to know everyone's thoughts on using either a Helium balloon/ Sausage lights (attached) OR A Dino (maybe x2, one either end of a set) Using them as back lights, & fill. (Firelight is the key light in most scenes) Or maybe even Softboxes from cranes? Which are better for moonlight? I am filming a scene in the middle of an old medieval town centre (imagine Magnificent Seven gun fights) I'd ideally like to use a balloon light as the ambient light and then the Dino's as backlights, but as its a low budget feature I have to cho
  19. Hey guys, So as most of these post start out, my budget is slim to none. Now that that aspect is out there. Im DPing a short that takes place in a car at night. the two characters in the car are being followed because of something they have and they are trying to get away from whoever is following them. Thats where the "chase" aspect comes into play. Its no James Bond chase scene but need to feel like they are trying to ditch the car following them. The short is only 5 mins long and will take place half in urban/city area but they head to a more deserted beach area. The picture attcahe
  20. 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
  21. Hello all, this is my first post here and I really need some advice on how to go about that! I have a project coming up which involves interior and exterior shots. My main concern is lighting the outdoors night scenes. The scene involves two actors having a dialogue while they go about dumping a body in a car. This takes place at night. Mood: Dark as possible - its is a murder after all, mysterious. The only source of light is kind of a Sodium Light high up on the wall next to them which is pretty strong if they stand on its range. (and some other lights in the distant background
  22. So I'm shooting a short film and it mostly takes place at night on the road inside a car, and I have a very low budget, it's supposed to look like a kind of b horror/grindhouse movie. My inspiration of the lighting is Deathproof by QT, here's a picture and basically I'm looking to light my scene exactly like that, my question is, how can i achieve this cheaply? which lights do you recommend and how do i place them? Thanks
  23. Hey I hope all is well. I have an upcoming shoot that involves a party scene and I would like to include strobes and lights that pan and pivot. I've recently been looking at the work of Evan Prosofsky, Stuart Winecoff, and Steve Annis who have been producing some amazing work (in particular party/night scene work). Please find attached the links to the videos I'm referencing and some frame still frame grabs. If you guys could point me towards the kinds of lights I'm looking for that would be great. https://vimeo.com/129187816 - Stuart Winecoff (music video for Astronomyy) http
  24. I shot this teaser back in November or so. It's supposed to be two characters having dinner at night. I've gotten comments that it looks like daytime as opposed to night time, and while I don't completely agree, I'm wondering what I could've done differently to make look better as a night scene. Any ideas, comments, or critiques? Also interested in hearing how I could've made it look better overall, not just more "night-like." http://imgur.com/TKS72yF,YZpXa9Z#0 For a little background info, the guy has kidnapped and drugged the girl (his ex) and is forcing her to have a nice dinner wit
  25. Hi Guys. I'm new here and relatively new to lighting for film. I'm hoping this forum will guide me and help me improve my lighting techniques. I'm shooting a small corporate on Saturday and there is one shot on which I would appreciate your suggestions. I have not had a chance to recce the location but have been sent this photo from the client. The scene must look like daytime, but unfortunately due to a tight schedule it is likely to be shot at dusk (best case) or in total darkness (worst case, hopefully not as I will then be battling exterior sodium street lighting too).
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