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Lighting a shot - mixing color temps


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#1 Alper Kasap

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Posted 14 September 2016 - 11:46 PM

there is one shot which im finding tricky to draw my lights diagrams to. Here is the storyboard, as you can see no windows in the background just white walls and a closed door. ( a character walks through it later in the scene ) there are windows on camera left ( lounge room ) and camera right ( kitchen ) the directors wants a cool , isolated , eerie feel, its a sad and depressive moment..  its a horror film. i know its subjective but wondering how someone else would approach it ? i could punch a hmi thru windows to give moonlight/daylight ambience and a tungsten lamp behind them.. never tried a practical with daylight bulb is this another option but then would need another motivated tungsten source. Is color contrast always necessary what are peoples opinions ?

 

i have 1.2k hmi

4 bank kino flos

650w tugnsten arri

2 x 150w dedos

 

 

 

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#2 Miguel Angel

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Posted 15 September 2016 - 09:08 AM

Well, colour contrast is not always necessary rather something that you create through the whole project. 

 

Hence, sometimes you won't want to use different colours in your scene because it is not needed and some other times you will need to do so because that's how you have envisioned that sequence within the project.

 

To answer your question, there are so many ways to light that shot with the lights that you have. 

 

Night

 

1) You could throw the 1.2K through the left or right window with a 1x1 frame with china silk or light grid cloth to soften the light and peacock blue to create a "blue / green" feeling. 

Then you could place a practical (lamp) on the opposite side with a dimmer and gel it with bastard amber.

That way you would have two different colours which will help you create that 3D feeling. 

You might want to add the 650W somewhere behind the door the character opens so you have a bit of light there. 

 

Assuming that you will shoot close-ups, you can use then the Kinoflos (with either depron or frames to soften the light) to enhance the light from the wide-shot.

 

2) If the windows are very close, you could bounce the 1.2K off a Ultrabounce or 1.5x1.5 poly which will create a very soft ambient light, which you might want to flag off the walls or not!

If you flag the light off the walls, you could, again, add the practical lamp. 

If you don't flag the light, you could add a bulb in the middle of the table (hanging from the ceiling :)), dimmed and on screen. 

 

3) You could always just use a china ball above the table with black around it and leave everything black but the table.

 

Daylight

 

1) Throw the HMI through the window straight to the ground and leave the bounce be the general light, or if you can, bounce it off the table.

Use the kinos for the close-ups ;)

 

There are endless possibilities! 

 

Have a good day. 


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#3 David Mullen ASC

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Posted 15 September 2016 - 09:17 AM

So is it a day or a night scene?  Is it really just a dinner table conversation or does something more sinister happen?


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#4 Alper Kasap

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Posted 15 September 2016 - 09:42 AM

Thanks Miguel some nice ideas i might play around with those suggestions..

David interested to hear your opinion, they talk for a bit its a depressive isolated cold feeling, the boy leaves the room the door remains open, a scary figure (like the emperor from star wars ) enters through the door and the darkness of the hallway creeps up behind the father and we do a slow push in where we end up on a close up of his plate and blood appears as his head drops in his plate..

Its night interior.

Edited by Alper Kasap, 15 September 2016 - 09:43 AM.

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#5 Miguel Angel

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Posted 15 September 2016 - 11:45 AM

You're welcome.

For the hallway, you could rig a Kino in the middle and let everything fall into darkness.
However, if you are going to see the wall at the end of the hallway you could always be a bit more graphic and create lines of moonlight on the wall so when the figure appears, it is dark yet silhouetted by the wall at the end.

Have a good day.
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