Here is what lighting I have but can also rent what I need:
1- 2k (tungsten)
2- Arri 1ks (tungsten)
1- 500w Lowel Rifa softbox
2- 800w daylight bulbs w/china balls
2- 400w daylight bulbs w/china balls
2- 250w daylight bulbs
If you can gel the windows, I would suggest you cover them with a combination of 85/ND9 gel. The gel both converts the exterior daylight from 5500K to 3200K and knocks down the level outside by three stops, so that you can use your 3200K lights inside. But, where a roll of 85/ND9 gel will set you back $140.00, it will be expensive and time consuming to gel the windows if there are a lot of them.
Without gelling the windows to 3200K, using 3200K balanced lights doesn’t make a lot of sense. Balancing tungsten to 5500K is not very efficient because full color temperature blue correction gel (Full CTB) cuts the output of the light by 70% in converting it to 5500K. A 1000W 3200K light becomes a 300W 5500K light when you put Full CTB on it. The output you get after correction is not enough to fill talent in a shot with the windows uncorrected.
If it is a long scene, you will need to control the daylight coming in from outside rather than limit yourself to a window of opportunity. It is better to diffuse and take the direction out of the natural daylight by flying a silk or solid out the window, and then bring in your own consistent lighting. A good example of this approach is an American Experience program titled “The Most Dangerous Women in America” about Typhoid Mary that I lit for PBS. For part of her life Typhoid Mary was quarantined on an island in New York's East River.
Typhoid Mary in quarantine on an island in New York's East River. Note the view out the window of the East River shoreline at the turn of the century.
Because New York’s East River today looks nothing like it did when she was in quarantine, we used a 30' blowup of a picture of the East River at the turn of the century rigged outside the windows of a house in Arlington MA. We wanted to overexpose the exterior by one stop so that it would look realistic and hide the fact that the exterior was a blow-up. As you can see in the production still of the exterior of the actual location used for the quarantine island, we rigged a solid over the porch windows and the blow-up to keep the sun off both. That way we could light the blow-up and interior so that it remained consistent even though the sun moved on and off the porch in the course of the day. To take the edge off the blow-up, we used a single scrim outside the window to help throw it out of focus.
The actual exterior of Mary’s cottage was the backyard of a house in Arlington Ma with a 30’ blow up of a picture of New York’s East River shoreline at the turn of the century.
To maintain continuity between shots, we brought a 4kw HMI Par in a window on one side of the room as a sun source and a 1200 par through a window on the other side as a northern light source. We powered both heads off a dryer plug in the laundry room of the house using a 60A transformer/distro. The two 2.5k Par lights used outside to light the blow-up were powered by a modified Honda EU6500is through a second 60A transformer/distro. Since the Honda EU6500is could be placed right on the lawn, we were saved from running hundreds of feet of feeder back to a tow generator. Use this link for more production stills of PBS and History Channel historical documentaries where I took a similar approach.
Guy Holt, Gaffer, SreenLight & Grip, Lighting Rental & Sales in Boston