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Found 5 results

  1. Hi everyone, I'm a long time reader and a first time poster and student. I'll be shooting a shooting a short film in about two months from now which calls for "a bar lit with neon signs". Think of the Bud Light and Heineken signs many bars have as reference. Obviously we won't be able to use any brand signs because of legal issues but I've been thinking of several alternative ways to achieve the same mood. Also real neon signs are expensive and a serious safety hazard. Also keep in mind that the bar will be filled with fog similar to heavy tobacco smoke you see in many movies. The director wants to have neon looking practicals as much as possible. I have two 4 foot quasar LEDs that could potentially be gelled and placed around the background but I feel as if only two tubes wouldn't be enough. 1) Has anyone had any experience shooting and sleeving (hard coloured tubes that fit snugly around the bulb) cheap fluorescent units? Do they have a chance of flickering? What about noise? Is there a way of powering them with unaltered wall power or do they require a ballast? If so can they be powered in a way that wouldn't require a housing frame around them? 2) Has anyone had experience with cheap neon LED signs? They basically look like neon signs without actually being neon? I'm afraid of cheap LED units because of potential flickering. https://www.amazon.com/Wedding-Suppliers-Operated-Lighting-Valentines/dp/B075MXR77D/ref=sr_1_7?s=lawn-garden&ie=UTF8&qid=1524627473&sr=1-7&keywords=neon+sign 3) This piggybacks off the last one. Has anyone had good experiences with colour shifting LED stripes or ropes? https://www.amazon.com/NEON-110-120V-Waterproof-Controller-Decoration/dp/B01JZ754SG 4) I have tungsten lights ranging from 250W to a 2k baby and a set of 2 4' Kinos (tungsten and daylight) at my disposal as well. I'd be using the previous the push the lights. Are there any particular theatrical gels that you have found similar to the hue of neon lights? Green, blue, red, pink etc. Thank you for reading and also thank you in advance for answering!
  2. Hi guys, I've been given the task to shoot a music video. The director wanted to be to create a lighting set up similar to the picture below. It's very low budget, so I have 3 kino flows and one Arri 2k. I wanted to know what will be the best way to avoid spill when using the kino flow to light the subject? Thank you for reading Christopher
  3. Hey Guys! I'm going to shoot a shortfilm set in a dry-cleaner's in a bit and am currently looking for inspirational films/scenes that use fluorescent top lighting as key, since i would like to go with fluorescent tubes that are already part of the location as practicals. I'm currently looking into "The girl with the dragon tattoo"; "Arrival"; "Fight Club"; "Fallen Angels" etc. to learn how to create dramatic/thrilling scenes through the use of neon/fluorescent light from above. (The ceiling of the dry-cleaner's is going to be pretty low, so I don't think I'll be able to hang Chimera Quartz's of any size, my initial idea was going with diffused Kinos or maybe pancakes if there is enough budget for it. I also would be happy about more ideas of Lights to use. I also thought about bouncing light into ultrabounce/musslin/silk attached to the ceiling, I'm not really sure if it's the right characteristic though, so I need to test this in the next few weeks) So if you have a few other films on your mind that utilize remarkable top lighting, and of course your own tips/experience regarding working with top-light, I would be glad if you could share them with me! I'm also happy about every bit of behind the scenes material of films using this type of lighting! Cheers!
  4. Hello, I was would love to hear your thoughts on the best way to expose a bar scene. We're using a the 4k Blackmagic Production Camera and I have no idea how it responds to be under-exposed. The Arri Amira produced very good results in low-key scenes on our last film but the type of film we're doing needed a lighter camera. I've attached an image of the location. As you can see we have a ton of space and there is a beam that we can G-clamp lights to and also a ledge. OTS right there is a bar which has air-conditioners above it which would be OK to tape fluourescents to. We can't damage the walls! The scene is a guy who takes a girl to a really crass, tasteless joint full of pink neon and cocktail umbrellas (I actually like bars liek this but there you go). The director wants to go walkabout with the camera with a DJI Ronin so the lighting has to go above. I was going to gel Osram De Luxe fluorescents behind the bar and high on the walls and then stick a 1k PAR above the table Bob Richardson style. Once that is done, I was thinking just get a rim light raking the room from the far side and have put a four bank Kino Flo through some 216 to fill the profile shot of the couple at the table. If this sounds like an insane way to do it, feel free to correct me, I'm relatively inexperienced and open to suggestion. I liked what Dante Spinotti did for bar scenes in LA Confidential. He somehow achieved great modelling and depth. Many thanks and good luck to you all! Best regards, Haydn
  5. I'm hoping someone could enlighten me about these two shots (the first from The Social Network, the second Blade Runner.) I'm interested in how they were lit, practically speaking? I can see they both have practical sources- an orange outdoor light and a fluorescent bathroom light, but I'm curious as to whether any other sources or reflectors were used.
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