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Lighting Setup from Krzysztof Kieslowski's Blue


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#1 Mike Lary

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Posted 23 June 2007 - 03:09 PM

Hello,

Does anyone have a link to an article on how the pool scene was lit, or do you know how it might have been done? My research is coming up a blank. Attached is a pic, for anyone unfamiliar. The color of the pool saturates the actress when she's in the pool, but then she walks out to balanced light.

It seems that most of the light would have to emanate from underwater, with supplemental top light, but I don't know what kind of lights could be used. Pool and pond lighting systems seem to be spotty, but this needs to be uniform.

I need to recreate the visual aesthetic for a film that's shooting on 500 speed film. I'd considering trying to top light and bounce off the bottom of the pool, but the location hasn't been set so I don't know the interior color of the pool or its reflective qualities. Also, the biggest lights we MIGHT get our hands on are 4K HMIs, and they'll need to be at least twenty feet away from the pool to be out of the shot. Lighting from within the pool seems the most logical, if there's a safe way to do it.

Thanks in advance for any suggestions.

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#2 Rick Sharf

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Posted 23 June 2007 - 04:18 PM

looks like Idziak had some lights under water, maybe like a 1k par would be good for you at 500 asa. Just get an inverter and run it DC instead of AC and you should be ok. Thats just one approach thought, maybe something like a 2k ipso could work.

whatever you do just make sure your extra safe with cables around water.
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#3 Michael Nash

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Posted 23 June 2007 - 08:37 PM

It just looks like a light aimed down into the pool, from above. Some of the edge light on the actress appears to be spill from the light source, and some of it is bounce from the bottom of the pool (at least what i can see in this pic).

You'd be surprised how much exposure you can get from a simple 1200w HMI bounced off the bottom of a pool. If you want to add a saturated blue gel (as this appears to be), you'll want a bigger unit -- or multiple small units.

Keep your lights well away from the pool, and where the heads can't reach the water if the stands were to get knocked over. You can even bag the cables at the bottom of the stand after the lights are set, to reduce the risk of someone tripping over the cable and knocking the light over.
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#4 Jon Hyde

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Posted 21 April 2008 - 06:45 AM

Hi Mike,

First... how's SCAD doing? I moved to Los Angeles from Savannah last year. I lived there for over 30 years. Great city. A little small... but great place to visit.

Two things about this still you have attached. It looks like a large HMI set over the pool and either they have a saturated blue gel on it (thus the splash on the back of her neck) or they are using a grad filter to get the deep saturation of the blue at the bottom.

A gelled light source from across the pool (to her back) would then explain the blue spill on her neck (I'd do a minimal edge light from across the pool... but that's me). But then again there looks to be a non-blue saturated edge on her arm...

It looks like the are blasting a softer warm (CTO) gelled light in her face. For this sort of thing I love using Kinos just out of frame. I can change the bulbs to get different temp effects without using gels or filters... and no need for silks. Kinos throw perfect light in this sort of low t-stop situation.

Of course you can always go DI and use $$$ power windows $$$.

Interesting shot you chose... Kieslowski is a genius to say the least. I love the opening sequence of this film. Great visual story telling.

I don't know if this helps. We are always experimenting with lights and different sources out here in LALA Land. And Mole Richardson is right down the road.

Best of luck!
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Glidecam

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