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#1 Ken Minehan

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Posted 31 August 2005 - 12:55 AM

Hey guys, i have a question about lighting the interior of the car. I have a shoot coming up where i have to light and shoot actors in a car. I want a very natural look. I often see car scenes that are overlit. I need to get quite heavy contrast as well.

Are microflos or mini flos positioned strategically around the car a good way to go?
How should i achieve the lighting for oncoming traffic?

I would appreciate your help.
cheers
ken
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#2 Glenn Hanns

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Posted 31 August 2005 - 03:38 AM

Hi Ken,
I gather you're in a studio?
I agree, shots often are over lit inside cars. Personally I go into a silhouette situation on night travel shots around 3 stops down and with an overall soft blue hue. Add your minis to inject some colour as if from the CD player and dash, I sometimes at a green for the dash and blue for the CD. These can obviously go in the dash and easily be taped into position. For contrast have someone with a pair of lights mounted on a bar than sits on a simple 3 wheeled dolly off in the distance shining on to the back of the characters heads. Move them around as taste requires, i.e. coming into shot moving off as if turning or overtaking the car. You could have 3-4 sets of these to help sell it, make sure they don't silhouette each other. Outside the car passenger door have a light mounted on a spinning arm thats attached to a large enough stand so that it will reach over the car, this is your street light. Colour for taste if needed and spin that around at a constant speed. You could add another on the other side of the car but at a distance. Use some plastic mirror cut into three rectangular sections and joined in a triangular configuration. You can spin this around on its axis with a light shone into it that reflects light back onto the actors but keep it low level. Try some small white christmas lights off in the distance and move the car up and down with some pieces of timber and you-re sweet. Try some kind of vibration/ movement on the camera as well. You could also have them light up a cigarette for nice effects on the face.
Good luck.
Glenn.
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#3 Ken Minehan

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Posted 31 August 2005 - 04:24 AM

Hi Ken,
I gather you're in a studio?
I agree, shots often are over lit inside cars. Personally I go into a silhouette situation on night travel shots around 3 stops down and with an overall soft blue hue. Add your minis to inject some colour as if from the CD player and dash, I sometimes at a green for the dash and blue for the CD. These can obviously go in the dash and easily be taped into position. For contrast have someone with a pair of lights mounted on a bar than sits on a simple 3 wheeled dolly off in the distance shining on to the back of the characters heads. Move them around as taste requires, i.e. coming into shot moving off as if turning or overtaking the  car. You could have 3-4 sets of these to help sell it, make sure they don't silhouette each other. Outside the car passenger door  have a light mounted on a spinning arm thats attached to a large enough stand so that it will reach over the car, this is your street light. Colour for taste if needed and spin that around at a constant speed. You could add another on the other side of the car but at a distance. Use some plastic mirror cut into three rectangular sections and joined in a triangular configuration.  You can spin this around on its axis with a light shone into it that reflects light back onto the actors but keep it low level. Try some small white christmas lights off in the distance and move the car up and down with some pieces of timber and you-re sweet. Try some kind of vibration/ movement on the camera as well. You could also have them light up a cigarette for nice effects on the face.
Good luck.
Glenn.

<{POST_SNAPBACK}>


thanks glenn. that is very helpful. what if it's not a studio shoot? any ideas?
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#4 Oli Soravia

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Posted 31 August 2005 - 10:28 AM

Hey guys, i have a question about lighting the interior of the car.

Hi Ken, is it a day or a night shot? For example a night shot on a car trailler, seeing it from the front side of the car (and keeping it all the same, whatever angle you`re ging to shoot): my peronal concern is (for a narrative story) to visualize it as naturalistic as possible. That means, you don`see really much of the lights from the inside of the car on the actors faces, most of the light is reflected by street and car lights. I prefere to to have some cars with normal lights in the back (looking through the back window of the car), to set a bounce light (geled with a1/8 ctb in order to avoid some red in the face) through the windshield which is about 3,5-4 stops under (film) or 2-2,5 (video) maybe sometimes even more under, then one free fresnel (1,2HMI) which is rotateble, bounced in some warm silver reflection taped on card and gelled with the color of the corresponding street lamps (2 stops under), on left side of the car and same thing but with no color gel on the drivers side (1stop over). Both units do only appear correspondintg to street lamps or car lights. The cars in the background should also move, passing by etc. in order to avoid a monotony. I`d like so say something to the daylight scene, but I need to hurry, maybe next time. Good luck.
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rebotnix Technologies

Visual Products

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Wooden Camera

Technodolly

Rig Wheels Passport

Willys Widgets

Glidecam

Gamma Ray Digital Inc

Metropolis Post

Tai Audio

CineLab

FJS International, LLC

Media Blackout - Custom Cables and AKS

Ritter Battery

Paralinx LLC

Opal

Aerial Filmworks

The Slider

CineTape