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Lighting School Interior

School Interior Lighting

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#1 Adam Penney

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Posted 14 May 2013 - 02:16 PM

Hi.

 

I'm going to be shooting inside a high school for a short film I'm working on at the end of the month and I have a few questions.  The two photos below show the two main school locations, A long hallway shot and a table in a smaller area.  

 

My main concern is the wide/master shots.

 

 

I'll have:

- 2x 4 foot 4bank Kinos

- 2x 4 foot 2bank Kinos

- 3x Kino Divas

- 2x Arri 1K

- 3x Arri 650

- 3x Arri 300

- 2x Arri 150

 

I plan on lighting the medium and close-up shots with the Kinos (soft) and for the wide/master shots using the Arri fresnels (hard) to supplement the practical fluorescent when possible.  Though I am somewhat worried about using the practical fluorescent

lighting. 

 

If anyone has any experience shooting in a situation like this any help or suggestions would be appreciated.  

 

Thanks

 

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#2 Adrian Sierkowski

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Posted 14 May 2013 - 06:39 PM

Can you swap out the bulbs overhead so they all match up with Kinos or something similar?

 

That's what I'd do. Then, if each of those doors between the lockers has a window in it; I'd throw a slash through there to mimic say sunlight.

 

Then in the close ups, yep, model with the kinos.


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#3 George Odell

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Posted 17 May 2013 - 10:43 AM

I'm assuming the pictures depict how the camera will be framed for my reply. Would be nice if you had told is what is taking place. Hall filled with students or only one or two kids walking towards frame??

 

For the long shot:

 

The only thing ceiling mounted fluorescents do is light up the floor. They offer nothing, as is, for the actor's faces. Assuming the FL are to be seen in the shot I'd replace the tubes with full spectrums. Lowes or Home Depot. They are a bit brighter than daylight whites and look better on flesh tones. Check to see which bulbs are up there. The old fat ones or the newer thin ones.

 

You can also lay a sheet of minus green on the inside of the plastic diffuser. This will cut down the light a bit, though it may not be needed with the full specturms or if those lights will expose at 100%. Remember white is white. Now, if you can afford it, I'd remove the diffuser and replace with white honeycomb screens. You will get more down light with less spill into the camera lens. Might make for a more interesting scene as the actors/students move in and out of lit areas.

 

I see two doors on the left side. You can open them and place some lighting in there... those 4x4 Kino's turned long ways top and bottom or perhaps use the Arri 1K's with half blue bounced into a foam cor board.

 

As Adrian mentioned, the Diva's behind the camera to bring out the faces as they come closer to the camera. Keep them up high and flag off the lower section or adjust the dimmer's as they get closer.

 

Now, if the right side of the frame can be tracked over a tad so as not to see what's hanging there then I'd tape silver reflector foil (Lee 273) to some of those picture frames.

 

 

For the closer shot:

 

I'd start by cutting off some of the spill on the walls by using only two of the full spectrum bulbs in each box. At this point they are just acting as "in the shot" practicals with no real ligiting purpose.

 

Maybe a 4x4 Kino to the right of camera up high with a shower curtain (I use a real one, $9 from Bed and Bath). Use your small Kino's to model the subjects from the front. Don't be afraid of using bounce cards when you can. Less is more IMHO.


Edited by George Odell, 17 May 2013 - 10:48 AM.

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