Jump to content

Search the Community

Showing results for tags 'sunlight'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


  • Cinematography Forums
    • General Discussion
    • Cine Marketplace
    • Cameras Systems and Formats
    • Lighting for Film & Video
    • Camera Operating & Gear
    • Camera Assistant / DIT & Gear
    • Grip & Rigging
    • Visual Effects Cinematography
    • Post Production
    • Students, New Filmmakers, Film Schools and Programs
    • Lenses & Lens Accessories
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • Directors and Directing
    • In Production / Behind the Scenes
    • On Screen / Reviews & Observations
    • Business Practices & Producing
    • Camera & Lighting Equipment Resources
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Cinematography News
    • Sound
    • Off Topic
    • Accessories (Deprecated SubForum)
    • Regional Cinematography Groups

Find results in...

Find results that contain...

Date Created

  • Start


Last Updated

  • Start


Filter by number of...


  • Start





My Gear


Found 9 results

  1. Upcoming summer fashion shoot for a sunglasses campaign. The creative requires throwing shadows into the space to emulate sunlight coming through a window/casting shadows through exotic plants etc. We're working on a bit of a tight budget, looking for recommendations on how to light a space like below (it's a photography studio), to achieve close to the look on the example storyboard from the client. There's a lot of natural light in the studio space so we'll need a good bit of light to create a decent contrast ratio between sunlight & shadow. I'm thinking potentially one Arri M18 through CTS/CTO and actual plants/windows cut out of cardboard to motivate sunlight. That's pretty much as far as we can stretch the budget in terms of hiring lighting. We have 1x Aputure 300d and 1x Aputure 120d available already with 1x floppy & a few flags for neg fill. Also, can anyone recommend any window/plant gobos? Unsure what we'll end up lighting with, and I've never used gobos before... Any advice would be awesome, Cheers!
  2. Hey 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!
  3. You all know that harsh Sun of summer in Rome was a problem during the filming of To Rome with Love so to battle it and create the desired lighting, Darius Khondji and his team used diffusion balloons from ALF Service in Milan. This is how that looked like in Piazza della Madonna dei Monti: They remind me of inflatable air mattresses, that swimming pool/beach toy that, I see now, has a few other names in different varieties of English. I was wondering has anything like this been used elsewhere and how fairly standard is it as a piece of equipment?
  4. I ran into a problem on a shoot I did today. On the outside shots, I wanted to diffuse the sunlight, of course. I had a 2x2 meter diffuser, but I couldn't get it high enough for it do diffuse the whole scene. The sun was pretty much in the middle of the sky, and we were going for quite a high-key look. We are definitely shooting on a very tight budget. Is there any sensible way of doing this, or will I need a lift and a bigger frame in the future? I guess another alternative is shooting later in the day. The scene was set in the outside area of the restaurant with tables and chairs. We had 12 models on the shoot on three different tables. Any input appreciated!
  5. Hi, I have a couple of questions that I'd greatly appreciate any help or advice with regarding shooting with natural light. For an upcoming shoot, one of the scenes written is set on a beach and involves a simple conversation between two characters. The director would like it to be shot in overcast weather - he'd like it to look grey, miserable and "flat", but in an aesthetically pleasing (cinematic?) way. I'm concerned that shooting in overcast weather won't look good, and would love anyones input on how to go about this, or examples of films that have managed it well? The area I am least knowledgable about is in using light modifiers such as flags/bounce boards/etc. Obviously the success of the shoot depends largely on the weather itself - something I can't control! Are there any particular shooting conditions that you would recommend for good results? (ie. is it better to shoot with clear skies and use diffusion/flags etc in a particular way, or shoot in overcast conditions? Using artificial light sources is a possibility but ideally we'd like to stick with natural light only. All the best, Connor
  6. I'm about to shoot a tiny test project where a 3 page Conversation scene takes place at an open spaced parking lot. Looking at the forecast, I expect our day to be a cloudless sunny day. I just wanted to hear some of your techniques on working with the sun, precisely on timing & scheduling your shot. How do you work with the sun? I'll take all the explanation you got, but a few questions I would like to have them answered would be... - Do you schedule the wide master on early AM or Magic hour? - Do you choose to not shoot when the sun is directly above, sometime around maybe 11AM - 2PM if wide diffusing isn't an option? - Do you try to backlight the actors as much as possible with the sun? - If your wide was very contrasty, then do you try to match the contrast on CU, or will you ignore the consistency and go diffused instead? Thank you all for taking your time to read this post. I'd really appreciate your opinions on this.
  7. I'm a student cinematographer in Cape Town and I am doing a paper lighting with the following question: How can I light a evening dinner scene with 10 people around the table at night. Shooting at day time with two windows letting sunlight in. I have an idea it has got something to do with mixing colour temperatures... Do note we are not permitted to black out the windows.
  8. 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!
  9. Hey guys, I require a lighting similar to the type in this pic.. Here the light seems to be of from sunlight buts actually it's a night scene which was lit artificially..Actually i need a lighting which seems to be like from a bright sun light.. Help me how i can do!! It's a short film with very low budget, we are using canon 550d.. Also let me know the specifications of coloured gels if at all can help us with these kind of shot.... Kindly help me with the knowledge on voltages too (any books/blogs/videos)!!!! Thankyou :)
  • Create New...