I posted a while ago about coming up with an approach to the massive amount of exterior night setups in my upcoming project shooting Red. I want to generally see a lot of detail at night, and be able to shoot at a decently deep stop (T4 or 5.6) because of all the movement and action I'm going to have to cover. The look of night will have to be stylized for this film because the world is totally overcast, and our characters are out in a forest with no source of light at all. Anyway...
I think I have boiled down the general approach to 4 sources of light, and now I'm wondering what kind of lamps and what wattages would be cost effective for these different purposes.
I have drawn out a ridiculously rudimentary diagram http://naimsutherlan...hting-setup.gif . Here are two typical areas that I will be dealing with for the movie: http://naimsutherlan...es/location.jpg http://naimsutherlan...s/location1.jpg
Blocking will range from sitting in camp talking to running on steadicam away from an assailant, fighting with knives and guns, and eventually deaths from the weapons and bludgeoning as well.
Light 1 is the helium balloon key. Ideally this fills our immediate space with a soft, even light and gives everything a base to work from.
Light 2 is the backlight for the subjects. It needs to be fairly subtle and not too hard since it's completely unmotivated, and I just want it for separation and to avoid being flat and boring on the characters since I'm doing a soft overhead.
Light 3 needs to rake the background, which in a wide-ish shot might be quite a distance. It can be hard, but it should be even. I am afraid of losing depth by just losing things in darkness... I want to keep the idea of endless forest around them even at night.
Light 4 gets the foreground stuff that might be missed because its not facing the balloon light. It will need to be soft and even and mimic the balloon light.
Obviously this is a general conceptual approach, and not a specific schematic for a shot of the film.
One other requirement is that I'd like to have one of these larger lamps for putting up a subtle, very soft key on exterior day setups where appropriate. The whole movie is supposed to be overcast, but even so it might be nice to be able to paint on a subtle direction when/if I can.
I would love any tips on what lamps you guys think would be good for these jobs... I haven't really used much more than a 1200 par on my stuff, and I think this is all beyond something like that!
Edited by Naim Sutherland, 03 August 2008 - 05:00 PM.