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2K Blonde to emulate daylight


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#1 Killian Lassabliere

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Posted 14 March 2017 - 09:55 AM

Hi everyone,

 

I’ll be soon filming a short where main part of the scenes take place indoors at daytime ( in appartement and in a coffeeshop ). The director asked for a "colourful daylight look", reference below

 

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I unfortunately don’t have access to any powerful HMI… so far, here is what I’ve got access to : Blonde 2K, Kino Flow 120 ( 3200k or 5500k ), 2 redhead 400w, 1 redhead 800w, lite panel 300w and fresnel 300w. 

 

My plan is to simply bounce the 2k blonde from outside the window (with some CTB) and fill with the kinoflow. 

Now my question is will I have enough power with the 2k? Especially since I will have to gel it in order to match the ambient daylight. If not, do you guys see any way to get that type of look with my gear limitations?

 

I don’t have any pictures of the locations (last minute job) but they are really similar to the references. The coffeshop is quite small and won’t have direct sunlight (small Parisian street). The apartment has a big bay window and a balcony, it shouldn’t get any direct sunlight to since the weather is going to be rainy / really cloudy.

 

Regards,

 

 

PS : I’ll be using an A7s at 3200ISO T2.0. 


Edited by Killian Lassabliere, 14 March 2017 - 09:58 AM.

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#2 Brian Drysdale

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Posted 14 March 2017 - 10:36 AM

A 2k blonde with CTB isn't powerful enough to bounce though a window for a daylight effect, however, depending on the window and distances, you could try using it directly (for a harder look) or through some diffusion. 


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#3 Mark Kenfield

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Posted 14 March 2017 - 11:13 AM

I'm with Brian. Indeed I'd say keep your kino and your lite panel inside (to bounce off the wall/ceiling for fill), and then put every single one of your tungsten heads outside the window, coming in direct through a frame of something like half-soft frost (which will blend the multiple sources well, whilst not cutting the light output by too much).

 

You'll probably then need to send them through a frame of 1/2 CTB first and then set the white balance on your camera for 4500k. This will skew your skylight a little cool, but you won't sacrifice as much output from the key light to full CTB.


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#4 Killian Lassabliere

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Posted 14 March 2017 - 12:34 PM

Thanks a lot for your answers ! Very helpful.

 

I will then use all the tungsten heads though a diffusion frame.

 

 

 

You'll probably then need to send them through a frame of 1/2 CTB first and then set the white balance on your camera for 4500k. This will skew your skylight a little cool, but you won't sacrifice as much output from the key light to full CTB.

 

Really good idea, in that case should I set the kino to 3200k and gel it with a 1/2 CTB to ? 


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#5 Albion Hockney

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Posted 14 March 2017 - 02:05 PM

I don't know if I would use the tungsten heads to simulate daylight. Unless you have several 2K's or it will be really dark you won't gt much output. 

 

 

depending on exact situation I would probably shoot mostly with natural light and maybe try to bounce in daylight with a large bounce outside the window - if it is overcast I'd use silver lame 


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#6 David Mullen ASC

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Posted 14 March 2017 - 06:33 PM

I use tungsten to simulate late afternoon sunlight but you usually need more than a 2K unless it is a 1.2K firestarter parcan.
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#7 Robin R Probyn

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Posted 14 March 2017 - 07:18 PM

Dont know your story board or  time of day.. but seeing as you don't have the fire power to bash in artificial day light..like the shot you have for reference .. I would agree with Albion .. use the natural day light for your wide shot.. then the Kino and Lite panels for all the closer shots...presuming there are any..leave the tungstens in the van.. (unless you have evening shots too or some area you want to be on the "warm" side.. )


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#8 Killian Lassabliere

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Posted 14 March 2017 - 07:48 PM

I use tungsten to simulate late afternoon sunlight but you usually need more than a 2K unless it is a 1.2K firestarter parcan.

 

The Parcan are actually really cheap to rent  ( not the 1.2k but the par64 1000w ). 

 

Would 2 of those be "better" than the blonde + tungsten ? Or maybe combined them all though a diffusion frame ( Par + blonde ) ?

 

 

Dont know your story board or  time of day.. but seeing as you don't have the fire power to bash in artificial day light..like the shot you have for reference .. I would agree with Albion .. use the natural day light for your wide shot.. then the Kino and Lite panels for all the closer shots...presuming there are any..leave the tungstens in the van.. (unless you have evening shots too or some area you want to be on the "warm" side.. )

 

The scenes got a lot of dialogue with wide / medium / closeup. 

I would prefer to use artificial light but if it's really not enough power I might go that way. Would the light shift not be to obvious ? 


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#9 Robin R Probyn

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Posted 14 March 2017 - 09:00 PM

 

The Parcan are actually really cheap to rent  ( not the 1.2k but the par64 1000w ). 

 

Would 2 of those be "better" than the blonde + tungsten ? Or maybe combined them all though a diffusion frame ( Par + blonde ) ?

 

 

 

The scenes got a lot of dialogue with wide / medium / closeup. 

I would prefer to use artificial light but if it's really not enough power I might go that way. Would the light shift not be to obvious ? 

 

 

 

Yeah I dont know your schedule for the day.. just that for sure a gelled, bounced Blonde from outside.. is not going to do much.. if you cant rent a bigger light then you only have using the natural daylight anyway.. maybe shoot all the wides and mids first.. then control your tighter shots, lighting wise .. with the smaller LED units .. if you are shooting all day and into the evening, but you have to keep it looking the same.. thats going to be tough with out bigger lights I would think..  at least if you only have the close ups at the end of the day and your losing light you have a better chance with the Kino /Light panels.. but I would have some diffusion frames /bounce board for them too..   the other guys here have more experience than me.. but thats what I would do if stuck with that lighting kit..and having to maintain lighting continuity through a whole day.. 


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