- I have some questions about lighting, logistics and time-saving in production.
For example, I have a standard two-person dialogue scene. There are 3 shots:
1. Wide shot (two actors standing one before another)
2. OTS MS of 1st person (man)
3. OTS MS of 2nd person (woman)
So, in the wide shot I have the main source coming from behind the actors and rigged to the top of the window.
After I move to OTS MS of the man, I have the key soft source on the ground (from the left) and add backlight.
Then, when I turn to OTS MS of the woman, I have a flat light on the nape of man and not so noble lighting on the woman's face. Because of that, I should cheat the key light and move backlight from the 1st person to the 2nd person.
Is it normal process in production? Or should I rig some of these lights (backlight for each person) in pre-lighting the scene? Should I plan it on preproduction? Are there any other time-saving tips for such situation?
- And I have similar questions about night scenes.
For example, is's a night dialogue scene in the city street. Two actors stand face-to-face to each other, but 1st actor stands face to camera and 2nd stand back to the camera. The shots are:
1. A Wide Shot (1st actor face to camera)
2. OTS CU of the 1st actor
3. B Wide Shot (2nd actor face to camera)
4. OTS CU of the 2nd actor
On A Wide Shot I have one powerful light (18K f e) on the condor, situated far away behind the actors. When I move to OTS CU of the 1st actor I add some soft light on his face.
Then, when I go to B Wide Shot (turn on 180d), what should I do to avoid flat light? Have I got to move the condor to the other side of the street? Or should I order two condors and 18Ks for time-saving? Are there any tips for this situation? Maybe any tips for multiple camera set-up?
Thanks a lot for your answers!