Shooting in the Pitch Black

Grainier even with an HD camera? I thought it became grainer when you brighten the image in post, but if you leave it alone it stays the same? Maybe I'm wrong. Great tips.
 
Take a good look at all 6 pics. Do you think the lighting stayed the same for all the different angles?
 
ozduc said:
Take a good look at all 6 pics. Do you think the lighting stayed the same for all the different angles?
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The light came from the same direction in all the different angles. Some shots were brighter than others because they were aimed in a direction where the lights were physically visible.
 
ShamrockFilms said:
Its like you have to establish to the audience where the light is coming from "first" and then after let it land where it should.
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That is exactly what the DP and director did. If you watch closely, you'll notice that technique in a lot of naturalistic movies.

And as another poster suggested, I'm absolutely positive that the lights on the talent are from a gaffer's lighting, not from the ambient light around the set.

It's very challenging to light without making it look "lit."

Looking forward to hearing more about your project!
 
Can't shoot pitch black

Can't shoot pitch black

I know you are trying to get that specific night time look for this scene, but you shouldn't actually shoot at this time of night. Shoot while it is a little lighter out than the light level you actually want. You can correct in post.
 
ShamrockFilms said:
The light came from the same direction in all the different angles. Some shots were brighter than others because they were aimed in a direction where the lights were physically visible.
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Yes the light was all made to look like it was coming from the same angle but I'd almost guarantee that the light set up changed a bit for every different camera angle. For instance look at Sean Penn in the top right pic. Notice how much light is on his forhead and his jacket for that matter (none) Now look at him in the pic below that.
 
ozduc said:
For instance look at Sean Penn in the top right pic. Notice how much light is on his forhead and his jacket for that matter (none) Now look at him in the pic below that.
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Very good eye. This proves a big point, those lights in the background are for show.
 
dasonras said:
I know you are trying to get that specific night time look for this scene, but you shouldn't actually shoot at this time of night. Shoot while it is a little lighter out than the light level you actually want. You can correct in post.
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On most sets I've been on, shots that are "in pitch black", are generally shot even brighter than shots that are shot at about at their proper luminance value. Zero soft lighting generally, all hard lights, usually slatted or broken up into shapes of sorts.
 
Duct Tape Films said:
...shot at about at their proper luminance value. Zero soft lighting generally, all hard lights, usually slatted or broken up into shapes of sorts.
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I have absolutely no idea what you just said, but thanks?
 
To see anything clearly in a "pitch black" environment, you're going to have to depend on clear sillouettes of your actors. I'd recommend firing up some fog machines and backlight the "mist" coming off the river. You should get a look much like the 3rd screencap from "Mystic River".
 
dcarstens said:
To see anything clearly in a "pitch black" environment, you're going to have to depend on clear sillouettes of your actors. I'd recommend firing up some fog machines and backlight the "mist" coming off the river. You should get a look much like the 3rd screencap from "Mystic River".
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I was thinking that today when I was at a Halloween outlet. Are those type of fog machines okay? I guess I would have a fan blow it across the pier and aim a light at the back of the fog.
 
Crushing your blacks won't do much.. You can do that in post.. You should consider a few work lights (if you cant afford a 1200 or 575 hmi) and car headlights.. It's all about making the light seem as if motivated by the moon..

Throw some CTB on the light (give it some distance as not to melt it), and rent a few combo stands with the highest reach, and a bunch of sand bags.. Get yourself a piece of foam-core or b-board for some fill, and use the headlights from the car as another motivated light source.. Take another worklight, and place it on the other side of you scene (maybe a bit further away) and gel it down so it's not to hot, flag it so it seems motivated by your car headlights.. Try and get some foliage lit as well to give some more depth..

The one thing you need to be careful with is making the lighting FLAT.. This is DP 101, If you actors are very close to the source, it could be odd looking.. So either scrim the light down, or get a 4x4 single/double net, or ND it with GELs. Make sure you have some flags to paint the light where you want it (or something to shape your light where you want it)

It's not easy, but you can make it look great if you spend the time..

Those fog machines will do nothing for you.. They fog will be gone by the time you shut it off for your shot.. You need a real fogger, or your wasting your time.. Those out in the open are pretty bad too.. Fogging ext. scenes you really need an AGEBA (not sure how to spell it) or something that will fill a HUGE area..

Whats your budget?
Good luck..
 
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Get some converters so you can plug stuff into your cars and power some Kinos up. Depending on your car, maybe you can even run a 650... But Kino's would definitely help and give you something to play with then.
 
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