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  1. 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 what the hampshire will deliver. Any advice is appreciated. Thanks, Jesse
  2. Hi all, I'm writing to you from Florence, Italy. I'm going to shoot a feature film in few months. The movie speaks about a small family during WWII. The story is set in the Tuscan mountains, Alpi, and most of the story take place at night. The budget is small but we absolutely want to get the best out of our images. I'm trying to figure out which lights are the best to be "fast and good" in lighting scenes in the forest at night. My crew won't be big, I think only 2 grips and 2 electricians. I was thinking to something like this: http://lightingballoons.com/products/53/umbrella-ball/ or http://skylightballoon.com/index.php/products/skyball in the place of butterflies with big source behind or bounced off of them. Some Kino Flo Wall-o-lite, and some 2.5k hmi and 1.2k hmi with white diffusion frames are small enough to be fast and to keep a good quality of light for close ups and medium shots. I'm not sure which camera I'll use, I think a Blackmagic Camera, so nothing too much sensitive. I'll try to keep the frame not too wide so I'm not forced to illuminate areas that are too large. There will be some scene with a small crowd of people moving along the forest and those seems to be the most demanding shots in terms of lighting. That's it. I'm interested in knowing what are your thoughts and which way you would take being in my shoes. Thank you very much. Matteo
  3. I am DPing a music video in the near future that will be shot entirely at night in a forest. The concept is to have an industrial yet gothic feeling rave taking place in the forest with numerous people dancing and milling around. We are going for a very abstract and neon look, reminiscent of "Only God Forgives". Saturated colours are important and it's not important to have a sense of realism with moonlight or anything. I am hoping to light the scenes with Arri M18 1800W HMIs and KinoFlo 4 banks as well as various practicals in the form of industrial fluorescent lights and festoon lights. The practicals will be gelled red and yellow and dotted about the clearing. I am planning on rigging the HMIs above the clearing on our tallest stands as the budget doesn't allow for a condor or similar. I am hoping this will give a nice toplight and was wondering what I should be diffusing these with? I will bring in the Kinos with egg crate and diffusion for close ups and may also use small battery powered LED panels for background interest and tight spots. I would just appreciate any general advice or suggestions on this.
  4. I'm shooting a night time scene with 2 characters talking inside a car. The car is parked, the windows are wet from a recent rain (but it's not raining anymore). I'm looking for tips and advices for enhancing the water drops. Here is a screen grab from tests I've shot on a 5D a couple of days ago in a studio (we're gonna shoot on location for the actual shoot, with a RED One) with the kind of lighting atmosphere I'm planning to do. No one was really in charge of the rain drops for this test, so we just splashed water on the window before shooting. My first question is about the best solution for spraying water on the windows. I was actually thinking of using a water sprayer filled with a mix of water and glycerine (like we usually use for sweat on faces). Any other idea or advices for the best mix to put in the tank ? My second question is about lighting those drops. I know that you don't actually light raindrops as they are transparent, you just need them to register an image as they act like a lens. I don't want to have a very lit background (probably a bit darker than the test shot) to keep the drops brighter than the background itself. My idea was to shine light on a large muslim sheet (or a kino 1 bank) placed low behind the car, so it doesn't affect my lighting and contrast inside the car and create a white line on the top of the drops so they exist on this dark background. I guess they will probably also register the lights I use for lighting the characters. Am I on the right track ? I'd love to also add some colour bokeh with a small fixture far away in the background. What kind of source would you use for that ? The director wants to place the car close from a (white :blink: ) house wall, I'm pushing to place it further so we have more depth in the back and we can isolate the 2 characters in the image. Any advice or comment on my ideas are more than welcome ;) Thanks
  5. Hey Everybody, I'm new to the forum, but I was hoping to get some advice from you guys here. I was asked to light a night for day scene for the web series that I have been gaffing on. This isn't the biggest of problems since it is an interior scene. I've lit this place before, and I've only had to deal with making small windows appear to have sunlight coming in. But in this shoot the main character has a conversation in front of 2 glass doors. It is in a garden level business with the glass doors opening onto a patio area in the front. To top it off, the scene is supposed to take place at dawn. I can think of a couple ways of lighting this, one being more ideal on a visual standpoint but I am not sure if I have the lighting power to pull it off. I'll start with that one. Idea 1. Have 1-2 lights aimed through the windows to give the character his rim light while aiming all other lights on the patio. This would hopefully allow the background to not be totally blown out and it would create a more interesting shot. My biggest concern here is that we will also be able to see the dark buildings across the street. This all depends on the camera angle, but obviously the DP is not going to want to shoot down on the subject to avoid this. Idea 2. Use diffusion on the doors and blast light through them to give them a blown out look. Obviously this will make for a less interesting shot and I don't want this episode to look like a pile of trash as it is Ep. 1 and everything else we've shot has been looking stellar. Idea 3. tell the producers to go **(obscenity removed)** themselves because shooting in the actual morning would look dope as hell and they need to stop being cheap **(obscenity removed)** bastards. Personally I like the third Idea, but the DP and I have essentially already tried this. Any thoughts? I have all tungsten lights. 2 1k's Lowel DP kit with 3x500 w 200w tweenie 2 500w broad lights and a few more random lights the rest of the crew might bring. Hopefully i can get my hands on a couple 1.2 HMI's before this shoot, but it's up in the air. I'd also take Ideas for gelling the lights to make it look more morning like. I believe a more orange look here is pretty common, but i'm open to experimental ideas. Also not sure if it matters for sake of dynamic range, but we will be shooting on the FS 700.
  6. Hello everyone, We are planning to shoot a short film which is based a thriller cum horror subject. We are shooting in 5D Mark III, during night. I don't have any idea of lighting the exteriors during night. So, it would be very helpful if anyone from here says what kinda lights and filters i can use for my shoot. Pls do help me out in this. :) Regards, Dhana sekar.
  7. Hello all, I have a bit of a dilemma with a scene I am shooting where the director would like the lighting to change from night to day in one shot. The shot is in a (small) kitchen on a mid of a man sleeping at a table. We have a 400w HMI, 2k blonde as well as an 800w fresnel and 2 650's. We don't see the window in this frame which does help out a little. I was thinking of simply blacking out the window and then slowly letting the light come through starting at the top and moving down so the daylight hits the top of the ceiling first and then spills down to fill the room, then re creating the night light from outside, inside with one of the smaller lights. Does this sound like the right idea for the given situation? We could alternatively shoot when it's dark outside and then fake the daylight. Any comments would be much appreciated. Thanks, Tom
  8. In a film that I will be shooting soon, one of the locations is an upstairs bedroom. The room is fairly small, and very white and we are scheduled to film at night. There is £400 in the budget for cinematography. We already have access to 2x 650w and 1x 300w Fresnel lights and Canon C300. The room has blinds and I want to make it seem like moonlight is coming through them. Could anyone help me figure out the logistics of this? Thank you!
  9. Hey Guys, I have just taken a screenshot of 'The Conjuring' , and was wondering if anyone knows what type of light fixture was used to create this type of look? There are other scenes where it's obvious there is 'moonlight' coming from the windows, however this is coming from the ceiling as seen in the reflections on the microphone right of screen. Thanks in advance!
  10. Hi Guys. I'm new to this forum. I'm struggling to light a scene and wondered if you have any suggestions. I have two solutions but neither one seems to be working. Here is the layout of the rooms and action taking place. So the main character walks into a room. Initially the camera sees a darkened room then as the door opens the light sweeps in and spills across the bed revealing the second actor in the bed. He moves towards the chair and sits down before switching on a bedside lamp. Solution 1. Before the door is opened it would be nice to see some of the room in darkness so I put up a soft light at the window (assume shooting at night). Next I placed a nice hard dedo-light so the shadow boundaries are nice and crisp - as the door opens we get a nice spill of light across the bed and the spill goes right across the second characters face - it looks fairly good. The boundary of spill is shown by the grey line. However, as the main actor walks passed the door he ends up being overexposed. Given the room available it isn't really feasible to move the dedo back and scrim it. Solution 2: So this solves the issue of the character being overexposed as he walks past the camera. However the spill in the shot is significantly reduced so that when the door is opened the shadow of the edge of the door only goes across the first part of the bed and doesn't reveal the second characters face. Any suggestions how I could light this? Best Stephen
  11. Hi all. Getting ready to shoot an apartment bedroom scene that is set at night in a dark room with string lights as the only in-room practical ("lights off" otherwise). The scene is also being shot on a bed against a window with heavy dark curtains. So we are shooting straight into a window. Director's approximate reference for general feel/contrast is :14 - :30 in this clip: search youtube for "dead boyfriend morvern collar", i don't want to post outside links here as i don't think that's encouraged ;) Our scene is set up much differently than that clip but that's the "feel" she wants. Tips? This is low-budget and we are working mostly with a handful of Arri 1Ks and 650Ws. My initial plan was to throw a couple 1Ks outside the window at an angle with some CTO/yellow to mimic street lamps. Then fill inside with a 650W gelled similarly to mimic the rooms reflections of the outside light, OR take that 650W and gel it the same color as the practical string lights to imply that they are providing most of the light in the room. Could use some help though. Thanks!
  12. Hi, I'm having a little research. Usually cinematographers or directors (ask) to use blue tone when lighting night scenes and moonlights effects. I believe it's a creative choice but some would make it their standard. Personally, I don't want to use blue in lighting night/moonlight scenes unless it is a creative decision. I'm discussing about this with some of my friends. I want a little help in finding out the background behind it. Where did the idea came from? Who and what film started it? Any links and information about this? Thanks.
  13. Hi, I'm looking for some advice on how to light a night time outdoor scene that is located alongside a road. There are some street lamps, but not many. This is a low budget film so looking to keep costs down. In the scene there is a conversation between two characters while walking along a path (some street lamps). There is then a crash scene (so will be able to use one cars headlights). If anyone has any ideas or tips as to the best way to light something like this I would be very grateful. Thanks
  14. Hi, I'm looking for some advice on how to light a night time outdoor scene that is located alongside a road. There are some street lamps, but not many. This is a low budget film so looking to keep costs down. In the scene there is a conversation between two characters while walking along a path (some street lamps). There is then a crash scene (so will be able to use one cars headlights). If anyone has any ideas or tips as to the best way to light something like this I would be very grateful. Thanks
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