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There really isn't any lighting in this particular shot (other than the uplighting on the flying craft parked outside), the shiny set is just reflecting the projected sunset sky and everyone is silhouette against the projection.

 

If that were a real sky on location, you could get this shot without any lighting.

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Same goes for that other shot -- it's a shot of a sunset, there's no sunset lighting effect in it.

 

Find an example of a shot looking somewhere else other than straight into the sunset sky with everything in silhouette.

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That's the reason "Oblivion" used a projected sunset instead of green screen, because you can't get that sort of reflective detail and ambience without the sunset in the background, real or projected.

 

But hopefully your set isn't reflective.

 

Think of it this way, if you are shooting directly into a sunset in real life, your foreground would be nearly silhouette depending on how bright the sunset was -- a cloudier, diffused sunset would allow you to expose more for the foreground, but generally if you set the exposure for the sky, the foreground gets very underexposed.

 

So in some ways, you could just shoot people in complete silhouette, no lighting on them, though at that point you might as well use a white screen and pull a luminance key instead of a chroma key.

 

But assuming you want some faint detail instead of a silhouette, then you have to recreate whatever light would be hitting the subject and set from the sides and above. If this was outdoors, there would be overhead soft skylight but indoors, you would just have some ambience coming from a near backlit angle. So you'd want very big soft sources backlighting from above, the sides, and even below (if the ceiling is in the shot), big sources just barely out of the frame, probably gelled with some orange, creating a golden edge light around everything. This soft edge/backlight would also help reduce green spill from the green screen.

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David,

 

Maybe this is a topic more for the art department and post folks, but if he was to do like you did in the Astronaut Farmer and put a bright sunset gradient on the matte screen behind the set (Billy Bob in the car)...and then pull a luma key, do you think that would work? If so, the brighter false gradient could be replaced with a sunset, while maintaining the foreground in semi-silhouette. The luma key could be masked off to just the exposed window area in After Effects.

 

Like has already been said, there's a million ways to do this. Kugan needs to be much more specific about set design and photographic intention.

 

When I read about Oblivion's use of large format projection in American Cinematographer I was like...yep, only in Hollywood. But now that I see the results above I see why Claudio did it that way. Beautiful.

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I suppose it may be possible to put the actor and set against a giant white screen and light it orange to get the orange glow, reflections, and edge-lighting but somehow pull a luminance key because the screen is brighter than the subjects, but it would probably need some cleaning up to get a good matte.

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Specification of my shot-

 

Location - 20th floor inside a huge room,BG sea view sunset.

Mostly two or three shot only will commit the sea backdrop.

Mode of the film -Early morning feel

Look-futuristic room,like obivilion

Scene - main lead talking to a futuristic computer, transparent screen appear before him.source of the screen will reflect the main lead.

 

I think you guys ideas can very helpful to shoot this film.even I got a clear clarity .Thank you.this

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