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Showing results for tags 'lighting'.
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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!
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Hi Guys. I'm gaffering a shoot in a big old country home which itself runs off a 7.5kVA generator. I want to use a 1.2k HMI to try and keep power to a minimum so first question is do I actually need a synchronising crystal generator to ensure I don't "hurt" "blow" the light. This will also be my first time hiring a genny and so I don't know what the socket options are. All the lights I'm hiring use the standard edison UK 3 pin (I think) and so I don't know if the genny has the same output sockets or if I will need some sort of adapter? Cheers, Chris.
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Hello all. I'm filming a commercial in an office setting and and am wanting to be able to have a nice dramatic feel on the main subject. My thoughts were to shoot a couple 1.2k HMI Pars through the two windows. Also to run a hazer to bring out the shafts of light coming through the blinds. Couple of questions: Are the 1.2's going to be enough punch to give me my desired look? Should I bounce them into anything or shoot it through a diffusion? If so which would be best? Also, will bouncing it or shooting it through diffusion effect how the shafts of light look? Also, what's the best method to lighting such a large space without using the overhead florescent lighting?
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I am in pre-production of a film at the moment that will require an 'aerial work platform' and a lighting rig to imitate moonlight above a wooded area. It's part of an ambitious project and none of the crew members have had any experience with this kind of set-up other than our University, Greenwich, is often a film set (twice a month) and we often see similar set-ups, for a beginner with this kind of project, what would you recommend? Extra info: filming in an area in the UK where no films have ever been made and its a bit of a novelty. Some rough terrain and at least 400ft to the nearest power supply if we get the location we would like. Currently we are looking at a 60ft high platform holding a single 12k Arri HMI Fresnel. Any advice will be hugely appreciated (I understand that I have recently posted in a similar topic however it was 6 years old and I would prefer much more recent experience as advice)
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I was watching the new show Almost Human on FOX the other day and liked the look of the interior car scenes. What caught my eye at first was the way the windows reflected the outside atmosphere speeding by. It looks as though they are shooting through the car windows on a sound stage with some sort of rear projection (possible big digital projectors) simulating the fast moving background. Guessing they used a polarizer to fine tune the reflections. Any thoughts on how they achieved this look? How did they get the reflections on the car windows? Big massive digital projectors on each side? Or did they not even shoot through the windows and just added the reflections in post? Anywho, would like to hear some thoughts on it, thanks! here's one clip http://www.youtube.com/watch?v=5dv6JmczZCI
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Can you think of any colour movies with an upright piano in, grand pianos are much easier to film because you can shoot the face over the top of the piano. The ones that immediately spring to mind are: Shine The pianist The legend of 1900 Can you think of anymore?
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I've got a scene to light where the script suggests the key light for the action is coming from a television screen. Characters will also be 'flicking' through the channels. I'm sure there are lots of cool tricks and methods to simulate this. What have people had success with? What should be avoided? Cheers Dan -
Just wanted to know how a scene would be metered if your trying to get the correct exposure of the set - not necessarily a particular subject - but the whole shot as a whole. Say this shot for instance. Would you walk all the way up to the empress and incident meter her since all the light will be hitting the dome? Or would you spot read? Love this movie btw beautifully photographed.
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It seems that a DOP needs to learn to light for every situation and then tweak those according to script and specific locations. Though not exhuastive I have listed the situations in which one should practice lighting. Can you think of others that are good to practice? DAY Interiors room dramatic. Hard sunlight through windows with possibly a little fill. Interiors room soft. Huge softbox outside window with a little fill inside room if necessary. Interiors car and transports dramatic. Hard sunlight through windows with possibly a little fill. Interiors car and transports soft. Huge softbox outside window with a little fill if necessary. Exterior dramatic. Hard sunlight with some bounce fill for close ups - or recreate use mega HMI Exterior soft. Cloudy day - or recreate use mega HMI and huge diffussion screen Exterior Contre-jour.* Exterior underwater.* Exterior to Interior or vice versa** - Doorways mixing 2 of the above SUNSET/SUNRISE Pretty much the same as above but with lower sun and lower kelvin temperature. NIGHT Interior Dramatic* - such as a prison door opening. Interior Cosy - Practical lamps Interior Clinical - Strips Lights Interior Watching TVs Interior Candle scenes Interior Torches* (i.e. caves, breaking into a house etc.) Interior Moonlight coming in from outside Interior Streetlight coming in from outside Interior Car Headlights coming in from outside Interior Fires Interior Oil Lamps Interior Storm Outside* Interior Car Interior Party - disco lights. Exterior Moonlight Exterior Streetlights Exterior Car Headlights Exterior Fires Exterior Candles Exterior Torches* Exterior Storms* Exterior Underwater* Exterior to Interior or vice versa** - Doorways mixing 2 of the above SPECIAL SITUATIONS Greenscreen* Rear projection* Front projection* Smoke* Snow* Rain* I've starred some of them which I think are in particular the most difficult and need more practice on. Personally I find doorways extremely difficult especially when the exposures are different either side of the door and lighting is different e.g. walking from moonlight outside into cosy warm lit interior. Perhaps one should avoid opening doors in movies - have the character walk up to a house in the moonlight and cut as one puts the hand on the door handle to inside and hanging up a coat? Are there any movies or behind the scenes that you recommend watching for door and lighting transitions? Close-ups are not too bad it is the masters that are hard to shoot. I find torch scenes at night quite difficult because if you over crank the moonlight the torches light seems a little dim. Perhaps I need to use some 320 lumen flashlights and a bit of smoke. Though trying to get an even coverage of smoke is very tricky - amost need black garden sprinklers or tubing everywhere in a scene without it showing.
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A director that I'm working with on a short really likes the party scene lighting from "Meet Joe Black." He wants me to do something similar for a cafe table scene in his film that we're shooting at the end of the month. So far what I see is a large diffusion frame to the right of Clair, a hair light, separartion/back lighting on her shoulder, and some sort of fill/wrapping light. What I'm having trouble figuring out is how to match the fill/wrap lighting. It seems to fill all the way over to her far bicep. I see lanterns in the background of the shot. I'm wondering if the best way to do this is with a soft overhead fill from Chinese lanterns or using a more frontal bounce source just off to camera right. Perhaps Emmanuel used a spotted Fresnel, although I don't see a double shadow. It's also difficult to make out the light diagram from the reflections in her eyes since it's Youtube quality, but I don't immediately see a double bright spot. There's a shadow under her near side chin, but that could still indicate multiple lighting scenarios. Help would be much appreciated. Stuart -------------------------- illuma.blogspot.com
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Full disclosure: I work for Dracast in San Jose, CA. We started a 50% off clearance sale on some of our studio LED lighting for Black Friday and Cyber Monday. The promotion went so well that we're continuing it through December. You can find our discounted products here: http://dracast.com/december-specials.html Happy Holidays! -
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Hello Cinematography community. I am a still photographer that uses a scan back camera to capture my still photos. Because each photo is scanned over time (verses the instant capture of a DSLR) I use continuous light sources (verses flash). One of those sources is a Briese 2500watt HMI which I bought new, have had for a while, and used for only 1,080 hours. I'm looking to sell it and for those who know of this German brand, it's not something you drop on craigslist. Any suggestions on where best to post this item for sale? Thank you. Mark
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Hi, im shooting a documentary the next weekend and Im doing some scenes underwater (its about a triathlete) I was wondering if using some kino flo lights (outside the pool, obviously) would help? the pool is outdoors but i bet it will be cloudy. im gonna rent 2 o 3 kino flos anyway for that day so i wasnt sure if i needed them for the pool scene. My second question is about the filters, do i need a red filter on camera or on the lights? That day i would be using: Canon 7d and 60d tokina 11-16 canon 50mm 1.4 canon 24-70 4 GoPro hero 3 black edition dicapac underwater case (other cases are way too expensive) 3x kino flo lights i hope you can help me sorry about my english if I said something wrong gracias!
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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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What atmosphere can I create with Kino Flos?
Mike Barlas posted a topic in Lighting for Film & Video
Hi everybody To clarify my older post. I am trying to light a room that is 30ft long 16ft wide and 15 ft tall with three 4 bank kino's. The room is wood and will be dark, except for some minimal house lights, 5x 30 watts halogens on the ceiling.Which I can change the bulbs to 150watts if need be. I want to create a slightly underexposed background ambience, where details are visible. But the room is NOT fully lit. Similair to this reference photo: Ignore the color cast please. I want to use the three Kino 4 Banks to light the background only, but I wouldn't mind some of that background light spilling on the sides of the actors, such as in the photo. Hope this makes sense. Mike
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Greeting Does anyone here have any experience with Softy Lite? http://www.softylite.com/tech-specs.html I am thinking of purchasing some for the students. But before I go ahead, I thought of getting some feedback from people who may have used them. I would be grateful for any feedback from anyone who may have used them. Thanks in advance Behzad Olia Lucerne University of Applied Sciences and Arts
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After a summer of not doing much but making lattes for Hollywood folks and making a short film that I ended up not finishing, I feel behind as a student filmmaker. Are there any simple but effective practices that a person with a camera can get in the habit of to improve their skills? Skills such as: framing, camera movement, lighting, and composition. An example I heard of was to film ten second clips displaying dramatic light changes ie: striking a match in a dark room. I hope many can chime in on this! -
Andrij Parekh is one talented guy, and he's young too. There's hope. Not as big of a Ryan Gosling fan as my 21 year old sister, but this is still good, regardless.
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Hello, I've been scouring for some info on the usefulness of these lights, and found a variety of answers which haven't answered everything yet. I noticed there are some metal halide lamps for sale locally. http://tucson.craigslist.org/mat/3725934718.html http://tucson.craigslist.org/bfs/3726091526.html For $45, 1000w of that type of light must be very powerful. It's the one I'm primarily interested in. I like to rely as much on my tungsten I can. But I only have up to a 2kw which could probably handle backlight well, but not much else, plus, what if I have a larger area and I need a stronger rim of light, etc.. I have little experience lighting this style... I admire the look on "Last of the Mohicans" as it's very natural and convincing, yet there is obviously powerful lights. 1:07 is a great look. I can see it would require 2 units for the kicker (or is it rim?) and top light, which is not actually natural, yet it still looks absolutely convincing because the top appears to come from the kicker's direction. Another unit for the fill, and I think a little white edge light to motivate the fill. I am wondering if similar results could be had with the likes of 3-4 1kw MH lights arranged properly. These lights are appealing because they are dirt cheap compared to HMI's, and even with a 4000k temp, it leaves room good room for temp changes. I don't know what type, if any, color casts will be involved, I speculate +magenta might help if so? Again, I don't know how useful or practical such lamps may be. Another issue is mounting.. how the heck would I stick one on a stand? They're meant to be "bay lights". If everything is out the window, I would hope at least some of the smaller units (400w or 250w) would serve as good practicals in an urban setting, not necessarily doing much illumination. I have seen this done and it typically looks more cyan than blue, which makes me wonder how to get it true blue. Terminator 2 also used MH's I believe, and it added to the cold, already cyanic atmosphere. Thanks for all the help.
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I am planning to shoot a choreographed dance scene on a rooftop and am seeking any tips for shooting in an uncontrolled environment with a standard Canon 5D or 7D. Should i avoid harsh lighting and shoot after sunrise or before sunset? What budget lights or gels would assist? Also with dynamic shots can i still achieve nice sweeping pans left-right following the dancer without a steady cam apparatus? Any thoughts would be greatly appreciated! Thanks in advance!
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Hello! Last year I was a part of a student production called "Punctum Temporis". A 10-minute, no dialogue, short film. My first time operating a Red One camera, so I believe I might could have gotten more out of it. Although I co-directed and wrote, I would like get some feedback on my cinematography for this one, as this is the branch I really want do continue doing. This was a small production with only eight crew members, so I ran the lighting and camera operating myself, while my camera assistant pulled the focus. Would appreciate any feedback! -
Alright I've been doing lots of reading and really feel this forum is the best place to get the answers I need. I'm shooting a short film that mainly takes place in a moving car at night. Very hard thing to do for a Film Student on a 1200$ budget, I've come to find out. We did some tests and realized that we are going to need a well lit street. We found one and did some tests then realized not enough light was getting on the actor, so we switched the vehicle to a convertible. This made the shots a lot more interesting and created a lot more light for our talent. Here are some location/storyboard shots Here is a Photoshoped photo of the rig we will be attempting to use. This to us seems the most plausible, without the trailer we would have a car driving around with something obstructing the view of the actor. I'm sure this idea for shooting is still illegal but we think it might be less illegal, than just a car and camera mount, if that makes sense. Basically we are trying to pull this part of the film off in 1 night from 10pm to 6am on a Sunday night, without the need to shut an entire street down. http://www.flickr.com/photos/ifleeter/8755013241/sizes/l/in/photostream/ For the lighting we were thinking of adding a 1.2K HMI to the back of the truck and making it really soft to light up everyone in the car a bit more. What ways can we go about lighting the actors better without using dashboard lights or anything small. We don't want it to look like there are lights on in the car. We are using a Sony FS100 with Rokinon Cine lenses, I'm sure we would be able to get away with shooting it natural and bump the ISO up. But we really want to make the light look as best as we possibly can with what we have. Lighting equipment we have----- (2) 1k Fresnel and (1) 1.2K HMI and a lowell light kit. Is there anyway we could make this shooting rig safer as well as less likely to piss the cops off. The street we are filming on is 30mph so it's not a highway or anything. Thanks for any help or advice you can give me. -Ryan
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I am the Cinematographer for my senior thesis class in college and our movie takes place all out in the desert. The two characters are walking at night and I was planning on using mini brutes bounced into Muslin for a side/ambient light. I was wondering what else would be good to use like source 4s to light up spots of the background? Or PAR cans hidden in the background? And should I make the back light a different color to have color contrast? The characters then find an abandoned gas station with a flickering light and I was wondering what flicker box do people usually use and get the best effect from? Thank you for all who post and read!
