Posted 25 February 2008 - 12:27 PM
I have a music video coming up that takes place in a penthouse studio with 8' windows and skylights. I'm not going for the harsh sunlight coming through the windows feel, more of the soft ambient glamour feel.
We are shooting HVX w/ 35mm adapter, so my sensitivity is around 100 ASA, ewwww. Oh well.
That being said I'm bringin out so far:
Image80s with 1/4 diffusion frames for key lights on a goal post.
1.2k HMIs for hard edges if needed.
Joker800s for easy boomed back lights.
Something I'm not familiar working with is book lights. I'd like to try a massive book light for this video though, because I think it would work well. I get that you bounch a large light into a bounce that then gets diffused. I just don't really know exactly what to use.
My though is to:
12k HMI into 8x8 (Griff B/W, Griff Clear, Lamee)
And bouncing that into a 12x12 1/4 silk
I never use Griff and rarely use anything like that. I've used ultra bounce but this rental house doesn't stock it. What is the difference between these bounces? Which is going to bounce the most.
Also given that the space isn't "that" big I think a 12k might be over kill, but the idea is to back up the source way out of frame and have it feel like ambient day light coming in. Would a 6k be fine, probably.
Anyone with experience lighting up big studios like this I'd love to hear about it.
Posted 25 February 2008 - 12:33 PM
Posted 25 February 2008 - 03:22 PM
Using 12x's may be difficult to manuevr in there. But using 12x silks or whatever you use, hanging from one piece of 12x frame supported in the center by a high boy may be better and easier to get around. Your grif could be supported as well or just hung to the wall. But having bounces that big also may require larger cutters and more room to bring the lights and the bounce back to be able to cut the light.
Posted 26 February 2008 - 12:23 AM
Posted 26 February 2008 - 02:27 AM
I agree with Tim and Andy in that controlling your spill is essential, and I would think an 8 x 8 would be fine in that regard, properly angled.
The room looks deep though, how far back do you need to light?
Posted 26 February 2008 - 12:08 PM
TH: Yeah the 12x12 idea was no good. I ordered 8x8's instead. I'm using Silk, 1/4 silk and Silver Lamee. The G/E house didn't have griff/ultrabounce in anything but 12x12.
AB: We are opting for a bunch of 1.2k HMI's actually, to avoid a tie-in. The loft is pre-rigged with a ton of 20 amps circuits, just no 50 amp/100 amp runs without the tie-in. Originally I was doing 12k/6k but the treatment needs different looks besides the soft feel and the group of 1.2ks will act as my big bounce and then I can break them off to use them as hard light also.
RS: Ahh..Briese. No dice on that one, I wish. We have a big roof exterior in the morning first up and I'd love to have one but its a pretty specialized rental. Some day.
EA: Yeah I have an army of 4x4 flops coming out for control. And a 8x8 solid if needed. The space is really big and some areas don't have skylights, making the place all sorts of different levels of light. That was why I originally just wanted to bounce a huge light and fill the whole dark side up.
Don't use gridcloth much, I think thats what comes with the large chimera banks sometimes though. Feels kind of like paper with stringy grid in side of it? I already sent the order in, but maybe next time I'll try it.
PS: Bastard Amber is a good sunset gel right? I'm going to throw that over my hard lights.
Posted 09 March 2008 - 09:56 PM
looked pretty good...you know, for standard definition.
Posted 12 March 2008 - 04:58 PM
Whatup Anton! Small world right? The stage manager was telling me about that shoot from the day earlier. Our shots were most likely a little wider than the interview ones and the booklight idea wasn't working. Maybe a 12/6k Par would have done it like I originally thought.
Damn, I didn't put any lights on the fire escape...though it was the 12th floor. We did utilize the skylights twice though.