Jump to content


Photo

Poolside Lighting- Late Afternoon , dissolve to Magic Hour


  • Please log in to reply
2 replies to this topic

#1 Alain Lumina

Alain Lumina
  • Basic Members
  • PipPipPip
  • 115 posts
  • Director

Posted 18 February 2010 - 02:30 AM

I'm getting set to do a pilot presentation ( a pilot to get more funding to do a more legit pilot production. ) 16mm C0-16r ; sound design recorder dual system.

I'm figuring on using 50D for full daylight, maybe 250d or 500T with filter for later,
more amber sunlight and then 500T ? magic hour.

There are three lighting situations I'd like to request advice and ideas for:

1) Bright late afternoon- ( 50d) beautiful girl in pool --
A pretty girl swims in pool flirting with her boyfriend standing at the edge.
I know in the full afternoon, I will have trouble getting interesting lighting because
te sun will be real bright. I'm trying to think of ideas for scrims and some kind of overhead gobos to turn the sun in to a patter.


2) more indirect ilghts-- ( Maybe 250d) how do I get blacks in there while keeping their faces lit-- reflectors? I hace some small Mole fresnels.

3) Magic hour 250D or 500T? They're making out on a chaise lounge now.

I need some dramatic contrasty light for overlit situation
Thanks for ideas.

Edited by Alain Lumina, 18 February 2010 - 02:31 AM.

  • 0

#2 James Brown

James Brown
  • Basic Members
  • PipPipPip
  • 235 posts
  • Cinematographer
  • Sydney, Australia

Posted 18 February 2010 - 09:31 AM

1) Bright late afternoon- ( 50d) beautiful girl in pool --
I'm trying to think of ideas for scrims and some kind of overhead gobos to turn the sun in to a patter.

Dingle - grab some high stands and some trees and use them for the most realistic gobo's OR fly a 12x12 Silk for a super soft overhead and shape from there with some bounced HMI's. I prefer the Dingle in this situation.

3) Magic hour 250D or 500T

If you want it to be warmer tone you need to shoot the Daylight stock.

Cheers, James
  • 0

#3 Satsuki Murashige

Satsuki Murashige
  • Sustaining Members
  • 3510 posts
  • Cinematographer
  • San Francisco, CA

Posted 20 February 2010 - 04:08 AM

I'm finding your descriptions of the intended looks a bit vague. It would really help if you posted pics of the looks that you want to achieve, and then asked "how do I get this?"

I think a general starting point would be 20 by or 12 by overhead silks and smaller frames of ultrabounce or grifflon, several reflectors, possibly some HMI's with diffusion frames, and a bunch of 4 by floppies. It's hard to be more specific than that without more information. But it's gonna be a big grip package for sure, with a lot of grips to work it.
  • 0


Gamma Ray Digital Inc

Tai Audio

Opal

Technodolly

rebotnix Technologies

Broadcast Solutions Inc

Abel Cine

Aerial Filmworks

CineTape

Wooden Camera

Willys Widgets

CineLab

Ritter Battery

Visual Products

FJS International, LLC

Glidecam

Rig Wheels Passport

The Slider

Media Blackout - Custom Cables and AKS

Metropolis Post

Paralinx LLC

CineTape

Visual Products

CineLab

rebotnix Technologies

Technodolly

Ritter Battery

Opal

Paralinx LLC

Rig Wheels Passport

Broadcast Solutions Inc

Metropolis Post

Willys Widgets

Media Blackout - Custom Cables and AKS

Gamma Ray Digital Inc

FJS International, LLC

Abel Cine

Wooden Camera

The Slider

Glidecam

Tai Audio

Aerial Filmworks