Jump to content


Photo

Tips on day interior car lighting with a process trailer


  • Please log in to reply
2 replies to this topic

#1 John Honore

John Honore

    New

  • Basic Members
  • Pip
  • 3 posts
  • Student

Posted 12 December 2007 - 12:29 PM

Hi. I am shooting a student film on Super 16mm in a few months and we have several day scenes with a moving vehicle on a process trailer, I believe the process trailer is from shotmaker. I want to know what lighting units and diffusion you prefer to increase the overall ambience in the car. I was watching the behind the scenes of Y Tu Mama Tambien and it looked like they had a total of 2 18k HMI Par lights going through a frame of 6x6 grid cloth which was mounted on top of the hood of the car. Any suggestions would be greatly appreciated. Thanks!
  • 0

#2 Tim O'Connor

Tim O'Connor
  • Sustaining Members
  • 860 posts
  • Other
  • Boston, Massachusetts

Posted 14 December 2007 - 03:48 AM

Hi. I am shooting a student film on Super 16mm in a few months and we have several day scenes with a moving vehicle on a process trailer, I believe the process trailer is from shotmaker. I want to know what lighting units and diffusion you prefer to increase the overall ambience in the car. I was watching the behind the scenes of Y Tu Mama Tambien and it looked like they had a total of 2 18k HMI Par lights going through a frame of 6x6 grid cloth which was mounted on top of the hood of the car. Any suggestions would be greatly appreciated. Thanks!


I think that other people on here have far more experience than I with this situation but just to throw something in
as a general thought, I find that having a car with a sunroof is often helpful in getting a baselight level into the car
(although of course that's if the story allows for a car with a sunroof.)
  • 0

#3 Michael Nash

Michael Nash
  • Sustaining Members
  • 3330 posts
  • Cinematographer
  • Pasadena, CA

Posted 14 December 2007 - 04:29 PM

it looked like they had a total of 2 18k HMI Par lights going through a frame of 6x6 grid cloth which was mounted on top of the hood of the car. Any suggestions would be greatly appreciated. Thanks!


You don't always have to go that big, but it certainly doesn't hurt! I gaffed some process stuff this summer and the biggest heads we had were 4K's, which weren't quite enough in my opinion. We had to keep the diffusion a little on the light side to get enough stop.

screenshot.jpeg

It also depends on the shots, and how far away you want/need to keep the diffusion from the windshield. Sometimes you can put tracing paper right on the windshield and use smaller units up close, but the farther away the diffusion the brighter the source you'll need.

You'll also want to fill in from all sides to keep a "natural" look, although you can use smaller units for those angles.
  • 0


Willys Widgets

CineTape

Rig Wheels Passport

Media Blackout - Custom Cables and AKS

Wooden Camera

Gamma Ray Digital Inc

Tai Audio

Broadcast Solutions Inc

Glidecam

Abel Cine

Ritter Battery

Visual Products

Opal

Metropolis Post

CineLab

Paralinx LLC

rebotnix Technologies

Technodolly

FJS International, LLC

Aerial Filmworks

The Slider

Visual Products

Willys Widgets

Tai Audio

Technodolly

CineTape

Broadcast Solutions Inc

Paralinx LLC

Opal

Abel Cine

The Slider

Metropolis Post

Wooden Camera

rebotnix Technologies

Gamma Ray Digital Inc

Rig Wheels Passport

Glidecam

FJS International, LLC

CineLab

Ritter Battery

Media Blackout - Custom Cables and AKS

Aerial Filmworks