Jump to content




Photo

Lighting for Only God Forgives

lighting gaffer DoP DP Directorofphotography

  • Please log in to reply
6 replies to this topic

#1 Joe Fowler

Joe Fowler

    New

  • Basic Members
  • Pip
  • 3 posts
  • Cinematographer
  • Sheffield

Posted 29 April 2016 - 12:34 PM

I'm just wondering if anybody could break down this scene in terms of lighting for me.

 

 

Im shooting a short film for somebody next week and would love to achieve this sort of lighting set up. what i'm looking for is 

 

Light ratio

Temperature

softlight/hardlight 

Colour Gels 

Filters

Lights that are believed to be used 

colour scheme 

Practical lights

lighting position 

 

If anybody could help me out it would be greatly appreciated

 

Thanks  

 

 

 


  • 0




#2 Stuart Brereton

Stuart Brereton
  • Basic Members
  • PipPipPipPip
  • 2576 posts
  • Cinematographer
  • Los Angeles

Posted 29 April 2016 - 04:35 PM

Generally, it seems to be a large, low intensity soft source over the table for general level, combined with harder sources pointing down into the table cloth, which provide a soft bounce uplight. Mother also has a high angle softish back/hair light. 


  • 0

#3 Chris Lange

Chris Lange
  • Basic Members
  • PipPip
  • 46 posts
  • Cinematographer
  • Minneapolis, MN

Posted 30 April 2016 - 01:26 PM

The closer singles appear to have soft light coming from the side, so that faces have a slightly darker side.  Like Stuart said, I wonder if one soft light is lighting table, and slight positioning of actors with smaller hard light sources are bounced back into faces.


  • 0

#4 Stuart Brereton

Stuart Brereton
  • Basic Members
  • PipPipPipPip
  • 2576 posts
  • Cinematographer
  • Los Angeles

Posted 30 April 2016 - 01:44 PM

The closer singles appear to have soft light coming from the side, so that faces have a slightly darker side. 

 

I think the soft light from the side is just the bounce from the table cloth, which naturally favors one side of the face as they turn away from the table to face each other.


  • 0

#5 Vincent Aalbertsberg

Vincent Aalbertsberg

    New

  • Basic Members
  • Pip
  • 8 posts
  • Student
  • Paris

Posted 01 May 2016 - 08:58 AM

Generally, it seems to be a large, low intensity soft source over the table for general level, combined with harder sources pointing down into the table cloth, which provide a soft bounce uplight. Mother also has a high angle softish back/hair light. 

 

I have a question about this "bounced on the table" technique. In order to get enough light on their faces, it seems to me that the power of the light would just completely blow out the table, but here it is barely overexposed. (however you can see clearly on the faces that the light is coming from below, so i guess it's really coming from the table)

How is that possible ? Is it just linked to the camera DR that allows this ?


  • 0

#6 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 18789 posts
  • Cinematographer
  • Los Angeles

Posted 01 May 2016 - 09:32 AM

If your actor is close enough to a lampshade, then you will be able to expose for their face and yet hold detail in the lampshade.  Yes, the dynamic range of the camera plays an important factor in this.  Also, in this case, the hottest spot on the white tablecloth is hidden by objects. Plus it would be hard to see exactly where the clipping point is on a white tablecloth.  And the faces are exposed a little down, they aren't at full key exposure.  

 

Finally, you could set the exposure just below the clip point on the table and then use windows in color-correction to lift up the faces as long as the camera had enough dynamic range and the noise was low enough.


  • 0

#7 Vincent Aalbertsberg

Vincent Aalbertsberg

    New

  • Basic Members
  • Pip
  • 8 posts
  • Student
  • Paris

Posted 01 May 2016 - 04:39 PM

If your actor is close enough to a lampshade, then you will be able to expose for their face and yet hold detail in the lampshade.  Yes, the dynamic range of the camera plays an important factor in this.  Also, in this case, the hottest spot on the white tablecloth is hidden by objects. Plus it would be hard to see exactly where the clipping point is on a white tablecloth.  And the faces are exposed a little down, they aren't at full key exposure.  

 

Finally, you could set the exposure just below the clip point on the table and then use windows in color-correction to lift up the faces as long as the camera had enough dynamic range and the noise was low enough.

 

Thank you David, very helpful answer. It does change my idea of lighting and practicals, because (as a student) i used to really separate lighting and set/props, and even though a practical emits light, to only use it as decoration and a little for lighting the set. And even when a practical was very obviously supposed to be lighting the subject in the film, I'd always want to light it with a fresnel or whatever powerful unit to 'override' the light of the practical, being afraid of blown out parts (I guess that's partly because I generally shoot on lower-end cameras, meaning less dynamic range and uglier overexposure).

 

I think I'm going a little off topic here, but anyways, thank you.


 


  • 0



Tai Audio

Broadcast Solutions Inc

Willys Widgets

Glidecam

CineTape

Pro 8mm

Rig Wheels Passport

Metropolis Post

Paralinx LLC

Zylight

CineLab

Abel Cine

Ritter Battery

Visual Products

The Slider

rebotnix Technologies

Aerial Filmworks

Technodolly

rebotnix Technologies

Pro 8mm

Technodolly

Paralinx LLC

Ritter Battery

Glidecam

Aerial Filmworks

CineLab

CineTape

The Slider

Metropolis Post

Zylight

Tai Audio

Willys Widgets

Broadcast Solutions Inc

Abel Cine

Visual Products

Rig Wheels Passport