Posted 25 October 2006 - 03:59 AM
I recently read an article on Lighting setups and how to do them fast without keeping the actors wait for a long time. There were all these interviews of noted cinematographers who kept saying they light their sets fast and hate to keep actors wait. But after I read that, I was just wondering what "lighting fast" actually means. Could you please give tips or anecdotes from your experience as to how one can light fast and still get the best image using the basic key, back and fills? Does using a particular lighting equipment take more time than the others or is it just a personal lighting style of a DP? For low budget lighting, what do you recommend?
Posted 25 October 2006 - 07:28 AM
Posted 25 October 2006 - 09:11 AM
Mario C. Jackson
Posted 25 October 2006 - 09:25 AM
What does "fast" mean?
There are some situations where fast can mean a three day pre-light on a big set.
Maybe on an exterior using available light there will be no time required for lighting but the sun will only be at the right angle for twenty minutes.
It really does depend on the situation and what the requirements for the film are all about.
Posted 25 October 2006 - 09:50 AM
I've definatly got faster at lighting, but thats mostly due to being better able to pre-plan lighting setups ahead of time. When I first started lighting, I had a real trial by error approach to lighting and would often have to keep swoping lights about, because I'd picked the wrong size fixture etc...
Learning as much about different types of lights and support gear will really help, using the right tool for a job will speed you up, espcially if you have the right stand - as oposed to having to jerry rig something.
But its important not to rush too much and sometimes you have to stand up to 1stAD and Director, if you need more time. If your up against it timewise - you need to be able to pick which shots are worth taking the extra time over vs the ones that can be done more quickly - Basically pick your battles.
Posted 25 October 2006 - 01:07 PM
I also find that one can have different goals for a set-up, for example do a set up in stages, if the basic lighting gets completed on time or early, then refine it and take it to the next level; If the set-up is too slow and leaves no extra time, well, the basics should be good enough. Doing this instead of starting with a singluar focus on the more complex plan helped me be more flexable and do a better job under time pressure.
Also, I think its good to work on a few sets with an AD who won't budge on his schedule. I don't like working that way, and these guys are not always reasonable but the first time I worked on a set with a clock Nazi, I was amazed at how much we could get done, in silly amounts of time he allowed.
Edited by Douglas Hunter, 25 October 2006 - 01:10 PM.
Posted 28 October 2006 - 11:36 PM
Try to find some DVD w/ behind the scenes of a movie that Micheal Ballhaus shot and see if there's anything about the way he works.
Edited by Jon Rosenbloom, 28 October 2006 - 11:37 PM.
Posted 28 October 2006 - 11:47 PM
Have the locations / sets designed so that practical source lighting does a certain amount of the lighting work for you.
Keep it simple.
Posted 29 October 2006 - 12:00 AM
Posted 29 October 2006 - 02:10 AM
David way is my way too . i will also say that prerig is something that make it look like you light fast
i did a drama which was huge Set's 22 by number and we prerig for 30 days all lights were on dimmer board control by computer then when we got in to shooting i was ready for every angel day or night in 10 minutes
so we could shoot 60 set ups a day for 4 month.
so i was fast:)
Posted 31 October 2006 - 12:08 AM
Posted 31 October 2006 - 02:46 AM
Posted 31 October 2006 - 10:44 PM