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Lighting a living room


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#1 Miguel M

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Posted 05 April 2009 - 06:57 PM

I am shooting a short next weekend. One of the problems i am running into is that i have to light a living room. In the living there are windows everywhere. I ran a couple of test and came up with the solution of blocking out the windows, the only problem that if i did that I am wondering if the audience would question where the light was coming from. The first step that i did to light the room was to use 2k 2k's they are mole richardson not open face but the redheads ( again if i am using the wrong terminology or doing something wrong DONT HESITATE TO CORRECT ME I AM JUST TRYING TO GET BETTER) After doing this i went ahead and do the key light for talent and then focus on their BACKLIGHT and then Lit the background is this correct? is there a better way to light this or a different order that would make this easier or better looking. The other question i had is if i dont block out the windows would it be easier to use windows to my advantage by adding the proper gels to correct to daylight.


Thank you any help is greatly appreciate it. BTW i just joined today so i am trying to get used to the system. THANKS!
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#2 Ryan Ball

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Posted 05 April 2009 - 07:24 PM

I am shooting a short next weekend. One of the problems i am running into is that i have to light a living room. In the living there are windows everywhere. I ran a couple of test and came up with the solution of blocking out the windows, the only problem that if i did that I am wondering if the audience would question where the light was coming from. The first step that i did to light the room was to use 2k 2k's they are mole richardson not open face but the redheads ( again if i am using the wrong terminology or doing something wrong DONT HESITATE TO CORRECT ME I AM JUST TRYING TO GET BETTER) After doing this i went ahead and do the key light for talent and then focus on their BACKLIGHT and then Lit the background is this correct? is there a better way to light this or a different order that would make this easier or better looking. The other question i had is if i dont block out the windows would it be easier to use windows to my advantage by adding the proper gels to correct to daylight.


Thank you any help is greatly appreciate it. BTW i just joined today so i am trying to get used to the system. THANKS!


You can always slap a filter on to get your wide establishing shot with the windows open, then black them out and use artificial light to light the actors using the windows as motivation. I a living room, you can also take advantage of practicals (household lamps, etc.) tor round out your lighting scheme.

I like to use soft boxes on actors for nice soft, even lighting that looks natural. These can easily be made using foamcore and putting some diffusion over the fronts. For diffusion, I'll buy a pillow-case cover for a couple bucks at Wal-Mart and cut it up. This will cover two soft boxes.
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#3 Miguel M

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Posted 05 April 2009 - 07:26 PM

You can always slap a filter on to get your wide establishing shot with the windows open, then black them out and use artificial light to light the actors using the windows as motivation. I a living room, you can also take advantage of practicals (household lamps, etc.) tor round out your lighting scheme.

I like to use soft boxes on actors for nice soft, even lighting that looks natural. These can easily be made using foamcore and putting some diffusion over the fronts. For diffusion, I'll buy a pillow-case cover for a couple bucks at Wal-Mart and cut it up. This will cover two soft boxes.



What kind of filter should i used. I am shooting with an HVX 200 with a Letus Elite and a nikon mount lens
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#4 Adrian Sierkowski

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Posted 05 April 2009 - 09:22 PM

Miguel,
What I normally do is ND the windows. I normally start with ND.9, cover 'em up when they're in frame to bring down their levels a bit so I can see out of 'em. You can also get CTO with ND in it, which will correct the color temperature.
Or you can use CTB on your lights to balance for daylight.
Now, if I had a daylight INT scene I'd leave the windows open for the wide, and use foamcore to fill 'em as needed. This will depend on what you're shooting.
Also don't be affraid to mix color temperatures. You could 1/2 balance the camera between daylight and tungsten so the tungsten is a bit orange and the daylight is a bit blue. It's all about your own aesthetic choices.

Now, you can of course black out the windows as well, but hell, since they're already there why not use 'em?
Shoot the wides first and then you don't need to worry about the sun moving at all; you can then light for consistency. I hope that all of that makes sense.
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#5 Miguel M

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Posted 05 April 2009 - 09:33 PM

Miguel,
What I normally do is ND the windows. I normally start with ND.9, cover 'em up when they're in frame to bring down their levels a bit so I can see out of 'em. You can also get CTO with ND in it, which will correct the color temperature.
Or you can use CTB on your lights to balance for daylight.
Now, if I had a daylight INT scene I'd leave the windows open for the wide, and use foamcore to fill 'em as needed. This will depend on what you're shooting.
Also don't be affraid to mix color temperatures. You could 1/2 balance the camera between daylight and tungsten so the tungsten is a bit orange and the daylight is a bit blue. It's all about your own aesthetic choices.

Now, you can of course black out the windows as well, but hell, since they're already there why not use 'em?
Shoot the wides first and then you don't need to worry about the sun moving at all; you can then light for consistency. I hope that all of that makes sense.



Thanks for the quick response. What is the name of the get that is CTO W/ ND in it? Also what i am shooting is a comedy piece.
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#6 Adrian Sierkowski

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Posted 06 April 2009 - 06:33 AM

I'm pretty sure it'd be called a Full CTO ND whatever.

Something long these lines

http://www.bhphotovi...r...0&Go=submit
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Gamma Ray Digital Inc

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Rig Wheels Passport

Glidecam

Opal

Metropolis Post

Abel Cine

FJS International, LLC

Aerial Filmworks

CineTape

rebotnix Technologies

Wooden Camera

Willys Widgets

Tai Audio

Ritter Battery

Visual Products

Broadcast Solutions Inc

Technodolly