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lighting a hallway scene?


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#1 jeremy edge

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Posted 20 July 2005 - 01:00 AM

Ok here's the scenario ,we shot the performance half of a music vid in an old school.We're going back on the 27th to shoot the conceptual stuff.we have the scenes in the hallway that we wanted to be spooky but we did not want to underexpose and get a grainy image so we used the schools overhead lights and a portable light on the singers face.

The lighting came out flat and stale.When we go back and shoot the actors we want to get it right.Would we be better off maybe using lights in each classroom so light hits the actor's faces as they pass by the doorways and using a weaker fill light at one end of the hallway?

We have a 3 piece lowell dp kit with barn doors on the lights (I think they are 500 watts each and 3 victor-smith softbox lights(they dont look so soft to me) for our lighting...not much I know but all we have.

Here is a clip...watch for the scene walking down the hallway....we darkened it up a bit.This is a rough quick edit to get a feel.we have a ton of footage.

http://www.extremeso...decemberweb.wmv

Any tips would be appreciated.
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#2 jeremy edge

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Posted 20 July 2005 - 01:08 AM

www.extremesoundonline.com/video/bsl/bslnewweb.wmv

here is a smaller res clip and the hallway scene is before color correction.So you can see how stale the lighting is.when we darkened it ...that helped but of course it put the face in total darkness at the end.
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#3 Kevin Zanit

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Posted 20 July 2005 - 02:42 AM

School hallways can be tricky.

I have found playing with silhouettes to be a very effective way of creating mood in an otherwise difficult location to light.

Here is a frame from a project I did a while ago (excuse the low quality interlaced frame) - this is pre-color correction.

Posted Image

What I did was just accepted the locations flaws: Simi-gloss walls, nowhere to hide lights, etc.

I just raked a 2k from the end of the hallway, and to the side down the hall to get light on the walls. I then used a small fresnel hidden off screen to hit that back wall to create some depth.

In this frame grab you can't really make out any detail in their faces (at least on my monitor), but in the final version there is some detail. I just used a Kinoflo over camera in the center of the hall.

Your idea of placing lights in the different class rooms is good also. You can have your actors walking in and out of shadow.

This is also a good opportunity to play with color. The fluorescents may be a blue green color, so you can play with that some, etc.

Kevin Zanit
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#4 Tim J Durham

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Posted 20 July 2005 - 07:11 AM

http://www.extremeso...decemberweb.wmv

Any tips would be appreciated.

<{POST_SNAPBACK}>

You have a Quicktime version?
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#5 Brett B

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Posted 20 July 2005 - 09:11 AM

When I shoot in a hallway I usually like to kick light through the doorways. If it is a night interior I usually kick some harder tungsten out of only a few then a softer daylight balanced fixture through the rest so they goes a little blue. Then rig a few small fixture overhead in the hallway to creat just a few harder pools. I hope this helps you.
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#6 jeremy edge

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Posted 20 July 2005 - 12:54 PM

When I shoot in a hallway I usually like to kick light through the doorways.  If it is a night interior I usually kick some harder tungsten out of only a few then a softer daylight balanced fixture through the rest so they goes a little blue.  Then rig a few small fixture overhead in the hallway to creat just a few harder pools.  I hope this helps you.

<{POST_SNAPBACK}>


Yeah we have some blue gels we could use.its too bad we couldnt turn off some of the fixtures like that one frame there...maybe we can just unscrew some of the bulbs so a few work.Its all on one breaker.

Sorry no quicktime....we're just throwing roughs together.

we shot what you see there with an xl2.we have 1000 ft of s16 being transferred this week at flying spot in seattle.we thought shooting both 24p dv and s16 was a good way to have our bases covered in case something we dont like about one or the other. aslthough we did some shots only with the 16.The slo mo should rip on the 16 because its shot at 48fps and slowed to 24.the video was shot at 24p and slowed down half so you only get 12 fps in slo mo.in retrospect we should have shot slo mo with the xl2 at 30p so we would at least have 15 frames in slow motion.
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