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Showing results for tags 'soft light'.
Found 5 results
CHARECTER LIGHTING IN JUNGLE
Sushanta Barman posted a topic in LightingI will be doing a shoot in jungle. I want to know how can I control the day outdoor light. The weather condition around here is sometimes rainy and hard sunlight. I want to do various scene in different lighting, so please help on how I can create the different lighting scene 1. diffused lighting on character and the surrounding trees. 2. hard side light to fall in character face. 3. using top sun light for a day murder scene. ( i want to use a lot of highlight in the scene, how it would be as using top sun light? and what precaution are required ) Kindly help me with what hmi, or solars i can use and how to use it I want to have a bit of contrast between the character and background ( i want the character to be 1 stop up and the surrounding to be 1 stop down )
Does anyone have metrics on the photoflex starlite or chimera triolet 1k's? I've used the triolet once, a few years ago and was wondering how the output compares to using Mole or Arri open face pars with the same modifier. Since they have much larger globes and are made specifically to use with softboxes I would think they have more punch. Also, the photoflex starlites use the same globes as the triolet so I would assume they have the same output. Photoflex has an interesting speedring that fits 4 starlites into 1 softbox, effectively making a cheap barger like setup. The lamps go for about 50 bucks used, so you could potentially have a 4k soft light that can be run on household power. Anyone tried or seen this?? Side note : I know tungsten is not in style but a lot of productions are still using it 🙂
Naturalistic Night for Day Lighting Through Windows
Jon Cibella posted a topic in LightingHey everyone! Long time reader, first-time poster. Recently, in a number of films I've been watching, I've seen a vast amount of ways to light through windows. I brought this subject up to a lighting professor of mine and we've been having discussions on it since. I know that to create realistic and natural window lighting, you need to use a mixture of hard and soft light to represent the sunlight and the soft skylight. Of course, the mixture and positioning of these depend on the time of day you're going for. I haven't had the time to do any tests of my own, but I will attempt some soon. I have a few questions when it comes to this topic: 1. Have any of you done this in the past and how have you accomplished it? 2. What type of fixtures and diffusion have you used? 3. Do any of you have any experience using tracing paper on the window itself? And if so, is there a fixture that would still be able to push hard enough light through it to represent the sunlight? I'm completely okay with windows blowing out, especially when working on low-budget projects where you don't have the resources to light whats outside the window. Thanks!
Hi, new to the forum, and so far it's been a really great learning experience. Anyway, I was wondering how any of you might go about getting a similar quality of light from this shot in Grand Budapest Hotel on a budget? The project I'm working on mostly takes place in the kitchen of which I've included pictures below: I'm pretty young and I usually just reserve myself to writing and directing, but I thought it might be a good experience to try to DP one of my projects. However I could use a little guidance as this is all rather new to me still, but I did have a few initial ideas. I plan on putting up white curtains as the view outside is rather un-cinematic, and because I feel like it will add to the main character's feelings of being trapped. I don't have much of a budget, the brightest lights I could rent are probably a couple of 1K tungsten lights. However, I plan on using my 5D mark III with ML Raw, so I can go up to 1250-1600 and get a pretty clean image, and I tend to like to shoot between an f.2 - f.4. My nearby rental place does have a set of 2 x 1K Arri's and an Arri 650w open face that are decently priced for the week. I could possibly try and rent a few other smaller tungsten lights as well. I was thinking about possibly going and blocking out the sun with some black cloth draped over some C-stands on the deck and then setting up one of the 1K's in front of it to light up the white curtains acting as the sunlight. My thinking to do this is so I can keep color temp consistent, and so we don't have to worry about clouds coming in and out all day. It would also help keep consistency as Minnesota weather can be rather unpredictable, and it will be a 2-3 day shoot. From there I was thinking of using the second 1K as my key for the subjects as most of the dialogue happens in singles, probably bouncing it off of maybe some muslin or setting up a cheap book light scenario. Then finally using the 650w either for fill or for bouncing off the ceiling to raise ambient light levels. Anyway, I know that was a lot of information, but I was just wondering what any of you might do to get a similar look on the cheap all while trying to keep it consistent over a couple of shoot days. That was my initial idea, but I'm still not sure if that would even work as I've only been studying this stuff for the last couple months. Looking forward to hearing any and all ideas!
Soft light - Higher contrast
Shashank P Walia posted a topic in LightingHello I am about to shoot my year end final dialogue exercise in a month's time from now, the film has to be shot in studio space on 35mm film and sound synced. The film explores the internal conflicts of a family living in an lower middle class weared out house. It's raining or overcast in most part of the film and hence it is softly lit throughout but at the same time, I am trying to go for a higher contrast(not exactly very high) with lighting. Now, I am looking to create contrast within the space with respect to exterior and interior by the means of lighting (avoiding a lot of fill), a soft key coming from window bounced off a white board might work. As far as film stock is concerned I am thinking of testing two stocks, Kodak 5219 Vision 3 500T and Fuji Eterna 8583 400T, both to be pulled by a stop in combination with a low strength ultracontrast filter. This makes the colour desaturated and also makes the overall contrast low and blacks softer, but at the same time the contrast with respect to lighting would be higher (conventionally Key - Fill ratio will be higher). Sugesstions would be appreciated. Shashank Walia Cinematography,2011 FTII.