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Found 13 results

  1. Hello everyone, I have a TVC coming up and could use some lighting tips regarding a day interior (living room and kitchen) (pics attached). My question is how (or if) to utilize the natural light from the windows. More specifically how should I decide between the amount of natural light to use vs. using artificial lights. Or whether to even use natural light and just go artificial keep everything controllable. I have a sizable budget so have the freedom to bring in any lights I'd need and to pre-rig. It's an open white walled space so light will spill anywhere and while it needs to have a daytime feel I still want to bring in a little contrast to give the scene some shape. We are shooting 2 celebrities sitting on the couch talking to each other and looking at a TV off-screen. We only have them for 4 hours and the windows face NW. I'm advising to shoot mid-day so the sun is high in the sky above the house keeping the light fairly consistent from the window. Should I play it safe and build a tent outside, block the daylight and shoot HMI's through the windows in the living room (I would still let natural light go through the background windows in the kitchen). We have a lot of pre-light time so we'd be able to do that.. The last thing I want is to get a partly cloudy day and have the light keep changing. I like the controllability of that. With our limited window to shoot I won't have the flexibility to adjust. Another idea i had is to block out the windows high up on the wall and let light come in the lower windows. Then supplement with a bounced Skypanel or 2 inside to wrap around the front a little. Then line the fill side with floppies and duv for contrast. Sorry for the length post. I appreciate any suggestions.
  2. Hi all, I'm prepping for a Christmas promo, for which the director wants a "winter evening cosy warm family house glow". We're building a set inside a large hangar, and it will require a roof as the sound is super echoey. There is space outside of the set for lighting and rigging. Talent will be sat on the sofas, two people per sofa. They're playing charades so may be standing up and being quite active. There'll be two cameras cross shooting as we only have the talent for one hour. My initial thoughts are to rig a scaff pole across the top of the set and create a skirted soft box with 2 x Skypanel S60 or Litemats. However I worry that might be a bit too 'toppy'. We'll have fake snow falling outside the window so I thought an M18 pushing through diff with 1/2 CTO + 1/8 Green should make a nice soft moonlight effect. All other fixtures will be set to 3200k, the lights on the Christmas tree and the practicals will be doing a fair bit of work inside the set, and the two Skypanels behind the cameras will be for additional fill / motivated practical light if necessary. Practicals should be on dimmers, maybe even with RGB bulbs. Art department will be putting in a fake fire, it would be nice to have a Skypanel on fire effect mode but i'm not sure where it would go. Hoping to shoot on Alexa Mini and Ultra Primes but suggestions for a warmer/more Christmassy combo would be appreciated. Am I missing anything? Would you build anything else in for keying the talent? Some bounce around the table height? Thanks.
  3. 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 will still be very vivid, so there isn't really any corner of the apartment, that's not in the frame at some point. So directions of the action/camera shift throughout the different scenes. Also the Lighting will change quite a bit. In the story, the Stranger is in total control of it. The base-setup I want to do, is basicly like the one in the attached Mood Picture: A soft, cold, kinda "toppy" ambient light coming from one side of the room + really dim sodium streetlights from afar, only illuminating the windows a bit. There will be 3 main setups happening in the living room: 1. Like the mood picture, but also with a tiny practical illuminating a small coffee table in the middle of the room 2. The stranger will light some candles and maybe more practicals (warm and cozy feeling, as it seems like he's not a bad guy for a moment) 3. Absolute "darkness" as the Stranger turns out all the lights, while she left the room for a second. So the lighting should basicly mimic total absence of light. One more thing that's important: As she is our protagonist, she's supposed to be keyed in a not too unflattering way. While the stranger, should only get a back/rimlight most of the time, so we can't see his eyes or facial expressions most of the time, leaving him and is intentions mysterious. Gear-whise I basicly have a full set of Arri Tungsten Fresnels and some open face units to work with. + CTB of course, and some color gels to match Sodium Vapor Streetlights. 2x 2kW T2 Fresnel (including 1 chimera I believe) 2x 2kW Open Face 2x 1kW Fresnel 6x650W Fresnel 6x300W Fresnel My approach till now would be: - Creating this soft, ambient light from the top left corner in the room. Maybe shooting the 2kW through a lot of Diffusion, or creating a large bounce. (from above the walls, as we won't have a ceiling built) - Aiming the 650W, or maybe only 300W through Sodium Gels to each window that's in frame, trying to keep it a few stops under in order to not make it light up the room to much, as the ambient light should dominate the room. - Trying my best to flag the ambient light off the top of the walls, to create some kind of gradient/contrast, as seen in the mood picture. My main concerns about all of this: - The ambient light should direction-whise always function as a backlight in order to keep that moody, night feel. For the main actress I will need a fill, max. a rembrandt style shape. Should I try to rely on a close soft bounce for this kind of fill (that's basicly her key), or should I introduce an LED through Diffusion? Also would you have this light at the same stop as the backlight, or over/under? - As the direction in which we're shooting in the room is shifting throughout the scenes, I would basicly need to shift the direction of the ambient light aswell, in order to keep it backlighting the characters. Is this an okay thing to do, Lighting-Continuity whise? I'm thinking of the ambient light not as a "light" that has a source in the story, but as a light, which represents "absence of light" and has no believable source in the story. Does that make any sense at all? Or should I keep the direction of the ambient light locked, and introduce more lights to backlight whenever needed and flag the ambient off the faces, whenever they would be frontlit by it? Additional info: I'll be shooting on the Sony FS7, paired with the XD-CA unit, recording 4K Cinema DNG RAW through the Atomos Shogun. This is my biggest project up to now, and there's quite a budget flowing into the stage built, so I'm really trying to do my best in my department and not **(obscenity removed)** up. I would endlessly appreciate to get some feedback of you more experienced Cinematographers about my general idea and if it does make any sense, and if my approach to lighting it will work, the way I imagine it to do. Regards and Thank You all, Benedikt
  4. Hi again everyone. Not really a question this time but would wanted to show my lighting plan for an upcoming project to get some feedback. I have attached my lighting plan... The talent will be talking to camera and cooking. The background will be dressed with Christmas decorations and what not to celebrate the coming season. I want the lighting to be very soft and cold, to have that winter feel. I'm shooting it all in daytime. I'm using an M18 through the left window (only window our too the left) through a bed sheet which will highlight the background and rim our talent. The other M18 is inside in front of the talent which will be my key for her. I plan to bounce it and have the light come through another bedsheet to get it softer. For the fill, I will bounce it in from my M18 sources. I guess actually I do have a proper question. Would you recommend an Arri Skypanel S30C through multiple diffusion instead of the M18 inside? The kitchen is very small so I did think at one point maybe I should go for that instead. The shoot will start early and end before sunset. Anyways any feedback would be appreciated. Thanks so much!
  5. 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 do that? I can bounce off the ceiling but I always have trouble controlling that. Or maybe I can put litemats on the ceiling but would that look to toppy? Shooting on Alexa mini Zeiss compact zoom 30-80mm 2.8 Thanks for your help, Michael
  6. I need some suggestions on how to light up this scene. (This scene will take place during nighttime) We will have some wide shots and a Over-the -shoulder shot between the receptionist (who will be sitting) and the guest. We want it to be warm and inviting. Maybe add more lamps? Blue gels to fake moonlight? Im sorry I took these during daytime. Wide Reception Area - The main area We have access to some dedo lights,LED,Arri (300,800) and KinoFlos (4 Banks) I really want to thank you in advance. :)
  7. 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
  8. Hi We're shooting a short film and one scene plays in an apartment. We found this 3rd story apartment and really want to use it, because it is an original 1920s Austrian Apartment. We need a 7 minute dialogue scene in the Apartment and are thinking of how to shoot it. We wanna shoot it four days and have as little of a hassle as possible (lighting continuity errors) I thought about putting lights on the balconies and see thru curtains on the windows, but they're not in front of all of the windows (the balconies). Could I just light it from the inside and somehow place a backlight above the window? Or does anybody have an idea to add interesting lighting stuff? What would you guys do? thanks, Carlo Zappella
  9. 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 with him. It's a thriller. For the scene, the characters were pushed up right next to a window in a cramped kitchen. I had the option of either lighting through the window or from camera-side, which I avoided as I felt it wouldn't fit the dark material. I used a 1k open face about 10 feet back from the window, using drapes to shape/control it as much as possible. Some light curtains were softening the light a bit. The light was a bare tungsten unit and my camera was balanced to 3200k. I also had a bare tweenie bouncing off the ceiling for fill. Since there were no practicals to motivate from, I tried to pretend there was some sort of street light coming in from the window, so I wasn't going for a moonlight look or anything.
  10. Hey guys, I'm looking for a bit of advice, stock-wise. We're shooting the first ten minutes of our feature film this month and unfortunately my DP is as unfamiliar with film as I am. For outdoor scenes, I'm looking into the KODAK Vision 3 250D. One shot in particular, we transition from the roof of our building to the inside of our apartment. I dug up an article on Fuji's old 250. The tester claimed it would work very well under such a transition. I'm assuming that Kodak can achieve the same result? http://www.fujifilm.com/products/motion_picture/lineup/eterna_vivid250d/demo/ what would you recommend, lighting-wise, once we hit the interior. In the same one-shot, we travel quite aways around the apartment. Sometimes, windows are plentiful, sometimes not so much. for everything else, I thought we could use kodak 500t. but I don't know how that would match up either. does anyone know if I'm looking in the right places? if not, can you point me in the right direction. (i also considered throwing an 85 on something like a 200t to achieve the same effect, but I'm new at this, and I don't really know what I'm talking about) thank you for your help, for more information on our movie check us out at po.st/sowhat
  11. Hi, I'm going to shoot a mini-documentary divied in 2 scenes. I think I will use quartz lights: 1x 1K, 2x 650 (Lilliput). 1) the first scene is an interior/day on a irish pub. the shot is a medium close shot and a medium close up (like an interview). I would like to mix a daylight coming from the open door, the practicals light, and a backlight to separate the subject. How can I simulate a daylight with a quartz (I guess the natural light is not enough, the pub is pretty dark)? I'd use the 1k outside and near to the door, gel it with ful CTB (so it's 5500) and a frost to get a soft light. then I'd use the 650 as fill light without any gel but at 3200K and the other 650 (I don't know with which gel) to get a hairlight. I don't want hard light on the subject's face. 2) the second scene is an exterior/day. Do I have to match the 1K with the natural light or not? is a frost gel enough to mix artificial light with natural light? I'd like a very soft light, I don't to create a sunlight effect. in this case I can use a hairlight? I'd like hear your advices and opinion about the setup I described. Thank you, William
  12. 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
  13. 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!
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