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Bruce Greene

Member Since 07 Feb 2005
Offline Last Active Yesterday, 05:30 PM
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Posts I've Made

In Topic: Naturalistic Night for Day Lighting Through Windows

15 December 2017 - 05:00 PM

Thanks Bruce! Those were all great examples.

I remember seeing a DP use soft sources above windows some time ago and I love the look it gives. Sheer curtains and blinds are great for increasing the believability of a blown out window.

If you were to put a harder source through a window at night to create direct sunlight, what fixture would you use?

I would use a fresnel light powerful enough to get the desired effect. If you are shooting with a tungsten white balance in your camera, tungsten fresnels will be fine.  I would avoid open faced lamps as they don't flag well for making shadow.  At ISO 800, I think you'll find a 2k lamp is often enough, but it depends on the size of the set.

 

If you want to watch some clips... Towards the end of this reel there are interiors of the house (while under construction and when completed) that was shot on a stage with a large photo backdrop.  We shot it all with tungsten lamps and I think it took 70 lamps to light the set (including lighting the backdrops)

 

https://vimeo.com/40297871


In Topic: Naturalistic Night for Day Lighting Through Windows

15 December 2017 - 12:33 PM

One more example.

 

HMI bounced off foam core outside the window.  Behind the woman on the far right side of frame is an LED panel set to tungsten, to simulate the light from the practical lamp on the table.  There might have been a very small bounce fill light from behind the camera, but I can't remember.  I've used the tungsten lights inside to indicate the late time in the day for the story.  Hope these examples help a little :)

 

NSr5.2.jpg


In Topic: Naturalistic Night for Day Lighting Through Windows

15 December 2017 - 12:22 PM

Some examples:

1. Real sunlight with ND 1.2 on windows and two kinoflow 4x4 above the window to light the room.

NSr1.1.jpg

 

2. Diffusion on window with practical (tungsten lamp) also lighting the actors.

NSr1.4.jpg

 

3. HMI through 4x4 diffusion backed away from the window (sheer curtains) with Kinoflow above the window to light deeper into the right side of the frame.  In the original file one could see the buildings outside the window, but for this "flashback" sequence the windows were blown out in post and an glow effect added (+grain:)

NSr3.1.jpg


In Topic: Naturalistic Night for Day Lighting Through Windows

15 December 2017 - 11:48 AM

Once you've put tracing paper or other thick diffusion on the window you won't be able to get any hard light through that window.  But, often this is what you want, especially if you don't have a lot of lights to put through the windows.  The other alternative is to have a big soft source outside the window at a distance far enough to allow you to fit some hard light through the window at the same time.  Of course, these light sources will need to be moved at times so that you don't see them through the window.

 

If you're shooting at night or on stage, and you need to see the windows in frame, the tracing paper idea works well.  If you need the light through the window to also light the room, you're going to find you get a bit of lens flare from the bright windows.  With the tracing paper/diffusion on the windows technique, I also try to hang lamps out of frame, above the window, to light the room so the windows are not so bright in comparison. 

 

Another technique is to use blinds on the windows.  Adjusting the louvers of the blinds is a quick way to adjust the amount of light coming through the window, but still see the detail of the louvers over the window in frame.  This is especially useful when there is real daylight or sunlight coming through the window, and you're on the 20th floor and there is no other easy way to control it :)


In Topic: Some guy sold his Ursa Mini Pro to buy an FS7

10 December 2017 - 07:32 PM

From my experience, shooting narrative features, the ACs don't have time to mess with typing in scene names and take numbers right before the next take.  No matter how easy the interface.  It would be really bad form to have actors waiting for slate changes.  As it is, the slate operator barely has time to erase take 2 and change it to 3.

 

A script supervisor might have the time, if he/she had a wireless app that communicated with the slate, the camera, and the audio recording device.  And it would help if this meta data could be transmitted after the camera and sound has started recording if necessary.

 

Or, you could have a dedicated slate person to do the honors...

 

So, for now, in the end, it's easier to record double system and sync in editorial.  When we can, we record sound in the camera, but only as scratch track for dailies viewing.  I've been working in Russia, and on every shoot there is a playback department that just records the monitor video feed and sound for instant playback if requested by the director.  They are also in charge of setting up the video village.  Yes, not the way Tyler works, but other projects have different priorities.


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Visual Products

The Slider

Technodolly

Willys Widgets

Glidecam

Media Blackout - Custom Cables and AKS

Abel Cine

Rig Wheels Passport

Aerial Filmworks

Wooden Camera

Broadcast Solutions Inc

Paralinx LLC

Metropolis Post

rebotnix Technologies

Ritter Battery