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Found 38 results

  1. Hey there! Right now I am prepping a shoot that has a scene in a snowy winter forest. Originally the budget was available to really light a large section of the forest up with artificial moonlight and call it a day. But now, the shoot has been broken up into 2 units shooting all the snow exteriors on location for a fraction of the budget (Just a little bigger than skeleton crew) and then all the interiors on a stage in a city that has more production resources for that can work with the budget. The project is a dark/horror theme with vampires in the forest about to bite a deserving subject out of vengeance. It is a quick beat but the end of the project. Simplicity is the goal here. CAMERA Arri Mini LF Cooke Anamorphics Arri Raw UNITS M18 2 S60 Skypanels 6x6 / 8x8 (Ultra Bounce/Silk/Light Grid) Light Control (Flags, Floppies, skinned frames 250, 216,grid) PLAN - My mind is telling me to hoist of the 8x8 Frame with an ultra bounce and blast the M18 into it, letting the light fall light moonlight. Then I want to take the Skypanels and paint the background for depth. I am interested and open to any suggestions for lighting this scene. I am curious about any tricks I may not know about. I am worried about under lighting the scene, so want to have enough moonlight as key. Thanks for taking the time everyone!
  2. Hi, I'm looking to shoot a night interior scene and had a few questions about practical bulbs. 1. Is there a specific brand of bulbs that will work best? Or you can recommend? 2. Whats an ideal wattage for the bulb? 2. Do frosted bulbs work better? 4. Do I have to worry about tungsten bulbs flickering? 5. Is a dimmer necessary? Thanks!
  3. I'm working on a short film and the main location is a forest, at night. Most of it is set on a muddy road with trees surrounding either side, but there is a little section where our main character is running through the trees. My question is in regards to lighting, and what is the suggested method of lighting for this type of location? On previous projects, we have blasted 4 x 2Ks through the trees from a distance and used a smoke/fog machine for different looks and to help spread the light. We also used smaller lights for tighter shots, but I have found that this can often lead to quite harsh lighting and create ugly shadows. This setup has allowed for some great shots, but I'm wondering what other options there are? I have read a few other threads which suggested lighting a background road or something to give the shot some depth, but also have read that using paper lanterns up in the trees can provide great soft lighting. The only problem then is wind! Would love to hear some suggestions! Will likely be shooting on the BMPCC. Thanks! :)
  4. Hi! I am currently doing preproduction for a music video. It’s a horror themed music video set to reggae music. Half of the music video takes place at night. There’s a campsite scene with a bonfire and the rest of the night scenes are at the woods where the band members are exploring a creepy dark forest and eventually chased by a monster. I would like to ask for suggestions on how to light certain scenes and shots :) I did a lot of research on lighting ideas for bonfire set ups and moonlight set ups and there are various ways to do them but I’m not sure which style can work with the limited gear I have. We’re shooting with a Sony A7SII and prime lenses. Here is my lighting gear: 1x1 Led Light Bi color with softbox and grid (2) - can be battery operated 1x1 led light (medium sized) (2) - can be battery operated Led Worklight Portable led light - battery operated 1 small portable led light 85 watt daylight bulb with china ball Aputure 120D with light dome and spacelight attachments 25 W Beam video led light (2) - can be battery operated Par light (Rgbw, 3watts, 50 bulbs per par) (3) Smoke machine CTBs, CTOs, 201s, ND gel 5 in 1 reflector 2 large styrofoam Basically the first part of the night scenes is the campsite with bonfire setup. The 5 member band will be sitting by the bonfire which will be the main key light with moonlight at the side and the back. I might enhance the closeups with a led light with CTO or orange gel with fake flickering in front of them. I’m not to sure how to do the moonlight at their back. The location looks like this: https://www.evernote.com/shard/s220/sh/e16f1721-016c-4b60-b861-897d38b96610/df4c80b550b51b84/res/e580c050-7fe8-4689-bed6-941e661c1dc8/IMG_3633.JPG?resizeSmall&width=832 https://www.evernote.com/shard/s220/sh/e16f1721-016c-4b60-b861-897d38b96610/df4c80b550b51b84/res/798ed9ff-3ccb-410b-b3d2-5210c7456409/IMG_3644.JPG?resizeSmall&width=832 My reference for the lighting is this: https://www.evernote.com/shard/s220/sh/41a66133-af8f-4c3e-bc43-791b9e62e158/a876e3da84ed4205/res/fd34993a-240b-4a3a-8dbb-8b4b33986807/Screen%20Shot%202018-08-31%20at%2011.07.12%20PM.png?resizeSmall&width=832 https://www.evernote.com/shard/s220/sh/41a66133-af8f-4c3e-bc43-791b9e62e158/a876e3da84ed4205/res/548aaec8-cd69-494f-a98e-448968cf5bd8/Screen%20Shot%202018-08-31%20at%2011.07.29%20PM.png?resizeSmall&width=832 https://www.evernote.com/shard/s220/sh/41a66133-af8f-4c3e-bc43-791b9e62e158/a876e3da84ed4205/res/a80eaa04-48ba-4bff-b8fa-b287b1826070/39498786-bonfire-wallpapers.png?resizeSmall&width=832 The second part of the night scenes is the band exploring the dark creepy woods with their flashlight and emergency lights. So I’m thinking of having them use strong flashlight so I can bounce the flashlight light with a styrofoam back into their faces while the camera is front of them. And when the camera is from their POV, the strong light of the flashlight would be enough to light the trees (with a focused beam of course) or I can use the the portable beam lights to fake the flashlight light. I haven’t decided yet if the light will only be the flashlight cos I’m thinking I want some faint moonlight in the surroundings as well but I don’t know if it will work. The coverage for these scenes would be medium of them. They are huddled together as they walk so the light will be only concentrated on them. Then there will be pov or OTS shot of them of each other when they face one another. The location for these scenes are: https://www.evernote.com/shard/s220/sh/e16f1721-016c-4b60-b861-897d38b96610/df4c80b550b51b84/res/084ad3b5-5f8c-476f-aa03-cd9934ffde1c/IMG_3668.JPG?resizeSmall&width=832 https://www.evernote.com/shard/s220/sh/e16f1721-016c-4b60-b861-897d38b96610/df4c80b550b51b84/res/349e07d2-a51d-45c0-872d-73bd68d126de/IMG_3684.JPG?resizeSmall&width=832 or this: https://www.evernote.com/shard/s220/sh/e16f1721-016c-4b60-b861-897d38b96610/df4c80b550b51b84/res/b7766052-b010-4099-a16b-da1179e064d8/IMG_3756.JPG?resizeSmall&width=832 My reference for the lighting is: https://www.evernote.com/shard/s220/sh/41a66133-af8f-4c3e-bc43-791b9e62e158/a876e3da84ed4205/res/5f842be8-f57b-4c04-8f28-1a274e5c1907/Screen%20Shot%202018-08-03%20at%209.43.45%20PM.png?resizeSmall&width=832 The Ritual https://www.evernote.com/shard/s220/sh/41a66133-af8f-4c3e-bc43-791b9e62e158/a876e3da84ed4205/res/38e19281-d4ef-4fa8-a1ec-78a46d341da4/Screen%20Shot%202018-08-12%20at%209.12.24%20PM.png?resizeSmall&width=832 https://www.evernote.com/shard/s220/sh/41a66133-af8f-4c3e-bc43-791b9e62e158/a876e3da84ed4205/res/53e363e0-3517-47cf-8c8e-3d663dc50599/Screen%20Shot%202018-08-17%20at%2012.26.26%20AM.png?resizeSmall&width=832 The third part would be the two last remaining characters dropping their flashlights so the key light would be the moonlight now. The monster (a bloodied haggard-looking woman) would slowly appear to them. The moonlight would be more “visible” or stronger at this point. The last remaining person would run down a hill. I would shoot a shot where the camera peeks through the trees as he runs down. It might be also important to note that the person last standing is half-black. I am planning to have our makeup artist put shimmery makeup on him so the light would reflect his skin. My reference for the lighting is: https://www.evernote.com/shard/s220/sh/41a66133-af8f-4c3e-bc43-791b9e62e158/a876e3da84ed4205/res/9abdd734-a6cb-453a-912c-78a92924ebcb/Screen%20Shot%202018-08-31%20at%2011.10.32%20PM.png?resizeSmall&width=832 https://www.evernote.com/shard/s220/sh/41a66133-af8f-4c3e-bc43-791b9e62e158/a876e3da84ed4205/res/dc4f2656-8a11-4aa0-b8f9-dd827ad82dbc/Screen%20Shot%202018-08-31%20at%2011.09.15%20PM.png?resizeSmall&width=832 https://www.evernote.com/shard/s220/sh/41a66133-af8f-4c3e-bc43-791b9e62e158/a876e3da84ed4205/res/7acf2724-e66e-4e12-bf3b-63407a43c4bb/Screen%20Shot%202018-08-25%20at%2012.56.39%20AM.png?resizeSmall&width=832 https://www.evernote.com/shard/s220/sh/41a66133-af8f-4c3e-bc43-791b9e62e158/a876e3da84ed4205/res/2f38e7bc-c0bd-4c51-8d30-481e578cca3a/Screen%20Shot%202018-08-25%20at%2012.57.14%20AM.png?resizeSmall&width=832 https://www.evernote.com/shard/s220/sh/41a66133-af8f-4c3e-bc43-791b9e62e158/a876e3da84ed4205/res/49d790bf-fa59-44fe-8273-53f926f557a3/Screen%20Shot%202018-08-04%20at%202.44.54%20AM.png?resizeSmall&width=832 https://www.evernote.com/shard/s220/sh/41a66133-af8f-4c3e-bc43-791b9e62e158/a876e3da84ed4205/res/3d7ba0be-30d3-4c82-abb2-e28487116ac8/Screen%20Shot%202018-08-17%20at%201.59.29%20AM.png?resizeSmall&width=832 https://www.evernote.com/shard/s220/sh/41a66133-af8f-4c3e-bc43-791b9e62e158/a876e3da84ed4205/res/1a2496be-d3e9-46f8-8b5a-54961d10e8f8/Screen%20Shot%202018-08-17%20at%202.00.43%20AM.png?resizeSmall&width=832 I am not just sure how I will execute the moonlight light as key and background. I’m thinking of using the chinaball with the bulb wrapped in 201 and the ball wrapped in black foil attached to a boom pole and follow him as he walks and runs. I apologize if this is such a long post. If you have any suggestions on how to light the particular scenes and shots I’m not sure on, I would really appreciate it!
  5. (Reposting this with new working links of my references and photos of location cos I couldn't edit the first topic. Sorry!) Hi! I am currently doing preproduction for a music video. It’s a horror themed music video set to reggae music. Half of the music video takes place at night. There’s a campsite scene with a bonfire and the rest of the night scenes are at the woods where the band members are exploring a creepy dark forest and eventually chased by a monster. I would like to ask for suggestions on how to light certain scenes and shots :) I did a lot of research on lighting ideas for bonfire set ups and moonlight set ups and there are various ways to do them but I’m not sure which style can work with the limited gear I have. We’re shooting with a Sony A7SII and prime lenses. Here is my lighting gear: 1x1 Led Light Bi color with softbox and grid (2) - can be battery operated 1x1 led light (medium sized) (2) - can be battery operated Led Worklight Portable led light - battery operated 1 small portable led light 85 watt daylight bulb with china ball Aputure 120D with light dome and spacelight attachments 25 W Beam video led light (2) - can be battery operated Par light (Rgbw, 3watts, 50 bulbs per par) (3) Smoke machine CTBs, CTOs, 201s, ND gel 5 in 1 reflector 2 large styrofoam Basically the first part of the night scenes is the campsite with bonfire setup. The 5 member band will be sitting by the bonfire which will be the main key light with moonlight at the side and the back. I might enhance the closeups with a led light with CTO or orange gel with fake flickering in front of them. I’m not to sure how to do the moonlight at their back. The location looks like this: https://drive.google.com/open?id=1tLfMqZSe8XSW8Z-PVwtNZx7RjOoh0npV My reference for the lighting is this: https://drive.google.com/open?id=1bKG5UMzLXQ85qTShpKMYHUJRu68j6UaN The second part of the night scenes is the band exploring the dark creepy woods with their flashlight and emergency lights. So I’m thinking of having them use strong flashlight so I can bounce the flashlight light with a styrofoam back into their faces while the camera is front of them. And when the camera is from their POV, the strong light of the flashlight would be enough to light the trees (with a focused beam of course) or I can use the the portable beam lights to fake the flashlight light. I haven’t decided yet if the light will only be the flashlight cos I’m thinking I want some faint moonlight in the surroundings as well but I don’t know if it will work. The coverage for these scenes would be medium of them. They are huddled together as they walk so the light will be only concentrated on them. Then there will be pov or OTS shot of them of each other when they face one another. The location for these scenes are: https://drive.google.com/open?id=1BKV7fSi3HqX6D6ESecWEY-UfBksDJgUY My reference for the lighting is: https://drive.google.com/open?id=1P8l0ZEVsnEZglSVuGNgC0b5KjPJorWi1 The third part would be the two last remaining characters dropping their flashlights so the key light would be the moonlight now. The monster (a bloodied haggard-looking woman) would slowly appear to them. The moonlight would be more “visible” or stronger at this point. The last remaining person would run down a hill. I would shoot a shot where the camera peeks through the trees as he runs down. It might be also important to note that the person last standing is half-black. I am planning to have our makeup artist put shimmery makeup on him so the light would reflect his skin. My reference for the lighting is: https://drive.google.com/open?id=14h2bA_yWDlCbj_OCRlSvf9F3YJ1RmPz_ I am not just sure how I will execute the moonlight light as key and background. I’m thinking of using the chinaball with the bulb wrapped in 201 and the ball wrapped in black foil attached to a boom pole and follow him as he walks and runs. I apologize if this is such a long post. If you have any suggestions on how to light the particular scenes and shots I’m not sure on, I would really appreciate it!
  6. Hey, quick lighting question. I am shooting a music video, and the concept heavily involves a sprinkler in a park at night. The talent is supposed to “dance” with the stream of water as it circles around the grass, and eventually passes over the talent at the end. Like “Singing in the Rain” but with a sprinkler at night. We have a location with a sprinkler that puts out a lot of water, but I’m having a hard time lighting it so the stream of water shows up on camera as a solid mass. It just looked liked it was raining, but it needs to look like a wall of water moving closer and further away. It’s low budget, I don’t own any high-end lights to test ahead of time, but I plan to rent some. We have an A7S so we plan to take advantage of a full moon. Looking for advice on how you might approach this problem in general, and advice on any light(s) to rent. I’m really trying to highlight the stream as a solid, glowy, “wall” of water that the audience can clearly track. Thanks!
  7. 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
  8. Hi guys! Okay so I have a shoot coming very soon. One particular scene is in a garden at night, with friends around a table eating & in conversation. Its gonna be 10/12 seconds in the final video. So I want to put up hanging lights between 3 palm trees in the location with the characters underneath the lights. I tried looking in to research for other DP's who have done this look quite nicely. Deakins in Sicario I found he used 40 watt bulbs and there is quite a lot of them (plus light bouncing back down off the ceiling). Here is an image for reference: So here is now my location. All exterior so no bounce from the lights giving me extra illumination down there. So obviously this will be at night. The hanging fixtures as mentioned will go between the 3 palm trees (table and actors near center). The production designer on our meeting had with her the hanging garden fixtures. She had also 5w bulbs. Each meter of the hanging fixture is 2 bulbs (10 watts with these bulbs). I am worried that once this all is hanged up it won't be enough using these bulbs to light the scene. In my head it's around 200w over the talent heads, but if Deakins is using all 40w bulbs there than it makes me think I need to put higher wattage bulbs in this too. I could use a 500w / 1k Jem Ball over the top of them if this happens, but I kind of like it being easier to set up the wide only using the practicals & then with my MIDS coming in with a soft source for their faces (granted I am only getting 1 wide but still saves me putting up this giant light up top). Let me please know your thoughts. Would this be enough with these 5w bulbs? Should I get a bunch of 20/40 watts instead? Should I fill in the 5watts with a bigger light up top out of frame? Anyone who has done something similar before I would really appreciate the feedback. I am using the RED Epic Dragon to film. Thanks!
  9. I have the spectacular challenge, due to budget, of attempting to match day for night to our night for night footage. I have a feeling this will end up being a sad time in the DI where my night for night is graded to look more like day for night, but what can you do. My biggest concern is matching quality of light as best I can. I know the rule of thumb is generally to get some spots of day light light while avoiding the sky. Some of the matches will be for ECUs which I'm not as concerned with, but the wider matches are what I fear the most. Any and all suggestions are greatly appreciated! I've attached some ungraded lo res stills.
  10. Hello! As a very little experienced cinematographer, I have been hired to work on a very small budget short movie. It will take place in the countryside at a bus stop next to the road during the night. I talked with the director about the look and tone of the lighting and we agreed to go for a specific look. The bus stop will be lit using something like one or two Kino Flo 2 bank located at the top (like this scene from the TV series 'Dark'). For the rest of the shots where the two characters will not be in the bus stop, I want to create the kind of look we can find in the photography of Bill Henson, specially where the characters are lit directly and where the key and fill lights have two opposite temperatures (the key is warm and the fill pretty cold) like this shot. So I was thinking of mixing two different lights one 5600k and one 3200k or getting two 3200k and using a CTB on one of them and rate the camera in-between. Or maybe using a LED litepanel if it can be cheaper. Am I on the good track ? All the best, G.
  11. 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
  12. Hello Everyone, My name is Vicken Joulfayan, and I am a new member here! I am a graduate student at the New York Film Academy in the Masters in Filmmaking program but my focus is primarily on cinematography. I am the DP for seven master thesis film projects, two of which are scheduled to be shot in the next several weeks, and am in need of advice for lighting. Although I have researched a lot and have a general idea of how to light each project, I need your advice in deciding which exact equipment to rent. The projects have budgets but they are minimal. I've embedded links to the first two projects I am working on in June, and they include the location image and overheads. Project 1 : https://drive.google.com/file/d/0ByO5kv_UG9-NQkxDekNQdHZRdkE/view?usp=sharing For the bedroom night scene, we are recreating rain outside the window ( the space is visible in the picture, which is almost 3 feet, and then there is 6 feet downhill grass. The light will be put there at the bottom of the slope). Project 2: https://drive.google.com/file/d/0ByO5kv_UG9-NSnd3eDdLbUNnRjg/view?usp=sharing I am trying to keep it as simple as possible when it comes to lighting this one if it is a possibility. For both projects during day and night scenes, all the locations have big windows. I was thinking of 1.2hmi? par? or maybe Led even? Example aputure lightstorm ls1s) and additional fill IF needed inside, and practicals. Would I need a bigger frame than a 4x4 if i have exterior shots ( backyard shots)? I want to be able to see inside( characters) well exposed yet also have the outside location exposed ( outside logically more but still clear) without having the need to light so much additional light inside (tosco scrim black). Would a small LED be effective to create eye-light? Also we get 10 tiffen filters of our choice, Iwas planning to get these after research: - IR ND 1.2 / 1.5 / 1.8 - ND.6 ND.9 soft grad - Black pro mist 1/8 1/4 1/2 - Soft fx 1/2 - 1 + there is this grant where i can chose 6 full rolls or equivalent from LeeFilters that i am applying for. What do you guys recommend as primary to have!? cto, and ctb i think would be sad to have full rolls of! My choices are: 1- OPAL 2-GRID CLOTH 1/4 .. 3- HIGHLIGHT 4- ND 5- + - green. ? Equipment: Red Scarlet Mysterium X, EF mount. Lens given from school : Rokinon I also have the option of renting (POSSIBLY ) either zeiss CP.2 ,Canon Cine primes or Leica R cine mod. Which do you advise?! I really appreciate any feedback! Thank you in advance! Best, Vicken Joulfayan (818)224-9124 Vicken@joulfayan.com
  13. Hello, I'm working as a gaffer for a student film this January. The story is a drama/thriller that follows a man who dies and becomes trapped in a sort of limbo state of being. It's dark. It's fantasy. Our budget is very modest, but I'm very interested in using half hampshire on the windows for all day interior scenes - I love the blur it gives. However, those scenes make up only 30% of the film and the rest is night interiors. I'm wondering, can hampshire be used on windows at night to any great effect? I've looked into using dirty water and a spray bottle, but I imagine it will lack what the hampshire will deliver. Any advice is appreciated. Thanks, Jesse
  14. Hey all, DPing an independent short come December 9th-11th. There is a small Interior Night scene on location, where I would like to simulate stormy weather outside. I would like to do something like water in front of a fixture, but how can I achieve this? We will likely be using something like an Arri 1K with Urban Vapor gel outside the window to simulate a street light. Won't be shooting towards the window, so the rain effect will just need to be a texture. Also, would like to simulate thunder, in combination with the street lights. We'll have a couple of SPE-6 Flickermasters. How can this be achieved? Thanks ahead of time!
  15. Hey, everyone! I'm wondering how to light an area. Or, more specifically, how to color-balance it. I'm going to be shooting digital, but I'd also like the answers for (tungsten) film just to know in the future. I'm going to be filming in a particular bar (if all goes well—pray for me, please) which I've built the whole thing around. It has lamp lights and ceiling lights which appear to my eye to be incandescent, or else LEDs which look incandescent (I didn't check in the lamps). There are LED (?) panels which I'm told change color (I plan to work that in). And then there's the light from the night-time street. (I don't know what to do about that one.) I was thinking (thanks to a suggestion from Tyler Purcell) of just lighting the scene with some china balls so that I wouldn't have all that stuff to hassle with, but I'm trying to figure out what I should do. I might be able to replace the lamp bulbs, but probably not the ceiling ones, and definitely not the LED panels (obviously). So do I light the whole scene for the LED panels and then use a filter on the lens? What do I do here?
  16. Hey guys, We're preparing a shoot and I would really need some advice and suggestions on how to go about lighting this. My knowledge in interior lighting is a little too limited to make a call without checking in with other experienced cinematographers. The scene we are shooting is a dance scene between a spirit and a little girl, in a forest, at night in an incredibly dense fog. We're shooting indoors, in a large horse ranch, not letting in any lighting come in from the outside, filling the entire place up with fog, setting up a circular dolly and having most of the dance take place within the circle. (i've attached photos of our empty horse ranch) The thing here is that the "forest" is supposed to be lit by the moon. In terms of realism to the story, it should be the only lighting source in the scene. How would you guys go about this, taking into consideration that our budget is fairly limited (independent in-house production with our team) My thoughts is putting a MHI into a large skirted soft box over head. And then having 1 or 2 other lights to play around with on the ground depending on the shot. How many lights should go into the softbox? What would be best for the lights on the ground? Kino flos ok? LED? Any suggestions would be much appreciated. Something to keep in mind is that we would be shooting some of the dance at 60 and sometime (rarely) 120 fps. Thanks guys, If you're interested its a scene we're shooting for the continuation of the Kin Fables, the first film can be seen here:
  17. Hi all, I just wanted to know everyone's thoughts on using either a Helium balloon/ Sausage lights (attached) OR A Dino (maybe x2, one either end of a set) Using them as back lights, & fill. (Firelight is the key light in most scenes) Or maybe even Softboxes from cranes? Which are better for moonlight? I am filming a scene in the middle of an old medieval town centre (imagine Magnificent Seven gun fights) I'd ideally like to use a balloon light as the ambient light and then the Dino's as backlights, but as its a low budget feature I have to chose between one or the other. I'm leaning towards using the sausage light on a condor, and then just using some HMI's etc as backlights closer on the ground to the actors (so easily movable).?!? COMPARED TO/ 2x Dino's (on condor's) at each end of the town, so a back light whichever way they go. OR I could use Just x1 Dino as a side light, much like the balloon/sausage light.?!? What are people's thoughts?
  18. Hey guys, So as most of these post start out, my budget is slim to none. Now that that aspect is out there. Im DPing a short that takes place in a car at night. the two characters in the car are being followed because of something they have and they are trying to get away from whoever is following them. Thats where the "chase" aspect comes into play. Its no James Bond chase scene but need to feel like they are trying to ditch the car following them. The short is only 5 mins long and will take place half in urban/city area but they head to a more deserted beach area. The picture attcahed is the tunnels location we will shoot EXT shots of the cars driving out of the city. So for all the shots of the two actors in the hero car we would have to mimic the lighting to match what our location offers, multiple sodium vapor lights overhead. My biggest question is how I could go about shooting this section of the film to achieve the following... 1. See the actual tunnel when we have shots looking out windows (rear window, side windows, and front windows) 2. Match the lighting of the tunnel as they pass through. Theres the green screen option where we could shoot the scene. Then take those camera setting (lens, focal length, height etc) and then shoot plates. I feel there is alot of room for error with this option We rent a car trailer from uhaul and rig everything and shoot it practically that way. (cant afford a process trailer) Only issue here is the budget is so small i dont think they could get the permits for such a thing, feel like they could get in trouble having actors in a car on a trailer without proper permission, permits, police escorts, etc Lastly we have the actors actually drive the car through this area rig cameras to the car and have them drive safe and we sell the chase part in the edit. Sounds the easiest but biggest worry is safety. There are alot of factors with shooting car stuff. I appreciate you guys taking the time to read this and help out!! Cheers!!
  19. 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
  20. Hello all, this is my first post here and I really need some advice on how to go about that! I have a project coming up which involves interior and exterior shots. My main concern is lighting the outdoors night scenes. The scene involves two actors having a dialogue while they go about dumping a body in a car. This takes place at night. Mood: Dark as possible - its is a murder after all, mysterious. The only source of light is kind of a Sodium Light high up on the wall next to them which is pretty strong if they stand on its range. (and some other lights in the distant background which only offer some perspective) eventually they will sit next to each other (some other shots involve them standing almost under the sodium light talking - but these ones are the widest ones and obviously the biggest worry for me since I need to light from further away) My initial thought is to keep it as simple as possible and try to utilise what I have as much as possible. I can always try to match the sodium light for the interior shoots as it supposedly shinning through the window-> using half orange and +green or even a dedicated gel. But now I am left with trying to light up their faces and at the same time trying to make them look natural, I can budget some diva kinoflos and pretend that there are some other street lamps around of a different color temperature(or even match it), but I am worried it might not look as natural as i want and that it might sort of spill all over the place and destroy the mood. The camera is an Arri Alexa with a kit of prime lenses. This is working in my favour so I cant complaint I just need to sort out my lighting kit list soon and these scenes do trouble me since its the first time I am lighting an outdoor night scene. Much appreciated in advance any advice is welcome! thanks!
  21. So I'm shooting a short film and it mostly takes place at night on the road inside a car, and I have a very low budget, it's supposed to look like a kind of b horror/grindhouse movie. My inspiration of the lighting is Deathproof by QT, here's a picture and basically I'm looking to light my scene exactly like that, my question is, how can i achieve this cheaply? which lights do you recommend and how do i place them? Thanks
  22. Hey I hope all is well. I have an upcoming shoot that involves a party scene and I would like to include strobes and lights that pan and pivot. I've recently been looking at the work of Evan Prosofsky, Stuart Winecoff, and Steve Annis who have been producing some amazing work (in particular party/night scene work). Please find attached the links to the videos I'm referencing and some frame still frame grabs. If you guys could point me towards the kinds of lights I'm looking for that would be great. https://vimeo.com/129187816 - Stuart Winecoff (music video for Astronomyy) https://vimeo.com/95145651 - Steve Annis (music video for Wilkinson- see 1:45) https://vimeo.com/50873621 - Evan Prosofsky (music video for Grizzly Bear)
  23. 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.
  24. Hi Guys. I'm new here and relatively new to lighting for film. I'm hoping this forum will guide me and help me improve my lighting techniques. I'm shooting a small corporate on Saturday and there is one shot on which I would appreciate your suggestions. I have not had a chance to recce the location but have been sent this photo from the client. The scene must look like daytime, but unfortunately due to a tight schedule it is likely to be shot at dusk (best case) or in total darkness (worst case, hopefully not as I will then be battling exterior sodium street lighting too). As you can see the room is quite small. The key shot I'm concerned about will be a wide from slightly to the right of the photographed position (against the back wall). It will take in three people sat on the sofa looking at a photo album and must include the window. There is a vertical blind that can be drawn across the window and be either partially or fully closed, but obviously it must be sufficiently backlit to look like daylight outside. A relatively soft look is desired. There is no budget to hire in extra kit so this is what I have available to me to make the shot work: 2 x Arri 650w Fresnel 1 x Arri 300w Fresnel 2 x 55w (200w eq) Energy Saving Daylights w/China Balls 2 x Bicolor 1x1 Litepanels 1 x 1m lastolite style reflector Plenty of Gels & Diff Will be shooting on a Red Epic with Samyang cine lenses. I have had some thoughts on how I might go about lighting this but I'm seeking the wisdom of more experienced folk. I'd be interested to hear what different approaches you guys might take towards achieving a soft daylight effect under these circumstances. Thanks.
  25. Hey everyone, new member here :) I have a few night night exterior scenes at a high school football field. Guy/girl sneak onto the field, at at some point ends up proposing to her. We want to use the existing stadium lights "only" look. Of course I'll add some units on the floor to do the talent justice (end of the film/ romantic) but I was wondering if anyone has worked with just existing stadium lights as the primary source? Seems pretty straight forward but was curious about people's experience/ any issues with these types of lights. Attached is a photo not of the actual location, but something i found to give an idea. (3towers on each side of field)
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