Lighting the master shot, any pics?

dlang

dlang

Well-known member
Ok for the most part I've seen pics of CU, MCU and more interviews than necessary. It seems whenever someone wants to share their lighitng setup (including tutorials etc...) It's always the interview. So how about some pics of lighting the master shots of some narratives. This would make a fantanstic thread.
 
Yea that is the website of this experienced freelance Gaffer in Melbourne, Andrew Locke, Maybe someone should sticky this, it is very informative and shows variety of setups and equipments used. Whenever I hire stuff from him, i simply refer him to one of his own setups and I am set.
 
I'm really glad to see that an experienced gaffer also bounces a lot of light from ceilings.
Every time I do that I feel a little cheap, but it just works pretty well to get soft ambient light quickly.
 
Yeah seems like almost every shot is bounced light, whether it be ceilings or a frame with some muslin etc...I haven't been able to get the seperation I've desired with this method, you definately need a lot more space. I love the soft light look but it's really hard to control. I would love to see some of the final shots for these setups.
 
dlang said:
Wow, what a gold mine....you have outdone yourself DM.
Click to expand...

for the record, that's not my site, don't want to be taking credit for anyone elses work!

but that site is great, you can also watch some of his work. So you can look at the BTS pics and then see the results.
 
dlang said:
Yeah seems like almost every shot is bounced light, whether it be ceilings or a frame with some muslin etc...I haven't been able to get the seperation I've desired with this method, you definately need a lot more space. I love the soft light look but it's really hard to control. I would love to see some of the final shots for these setups.
Click to expand...

You can use the light bounced from the ceiling as a general light level and then start lighting individually.
However I know what you mean - on these pictures you hardly see any light control, just huge soft sources with no grid and no flags. I guess if it's close enough to your subject and far enough from the background, then the fallof is enough to keep the background relatively dark.
 
true, but by doing that you lose the ability to make any super fine adjustments of the lighting on your subjects
 
1234926989.jpg


The key in that scene was provided solely by 100 watt household globes hung from overhead (the ones that you see in the scene).

And here are some examples of the tighter shots, again key is provided by those overheads.

WFR%20screen%20grabs-4.jpg

WFR%20screen%20grabs-8.jpg


Through careful testing, I was able to design the lighting in that scene to allow us to shoot with minimum lighting changes. This (along with an amazing crew) helped us realize our goal of shooting within the tight time frame imposed upon us. In fact, the only "floor instrument" we used throughout the day was a tweenie gelled with 1/4 CTO bounced into a 4x4 bead board.
 
I don't have a wide enough lens on my camera to show the setup but this one was quite intricate for a small room. I think there were about 10 lights working.

1214945967.jpg
 
PDX...I love the look of this setup, especially the tight shots. amazing what well thought out lighting design can accomplish. That's crazy that they are only 100w household bulbs? Looks like you had a 35mm apapter too, I 'm enamored that you got enough stop out of those lights. Well done.





PDX_DVX said:
1234926989.jpg


The key in that scene was provided solely by 100 watt household globes hung from overhead (the ones that you see in the scene).

And here are some examples of the tighter shots, again key is provided by those overheads.

WFR%20screen%20grabs-4.jpg

WFR%20screen%20grabs-8.jpg


Through careful testing, I was able to design the lighting in that scene to allow us to shoot with minimum lighting changes. This (along with an amazing crew) helped us realize our goal of shooting within the tight time frame imposed upon us. In fact, the only "floor instrument" we used throughout the day was a tweenie gelled with 1/4 CTO bounced into a 4x4 bead board.
Click to expand...
 
PDX_DVX said:
1234926989.jpg


The key in that scene was provided solely by 100 watt household globes hung from overhead (the ones that you see in the scene).

And here are some examples of the tighter shots, again key is provided by those overheads.

WFR%20screen%20grabs-4.jpg

WFR%20screen%20grabs-8.jpg


Through careful testing, I was able to design the lighting in that scene to allow us to shoot with minimum lighting changes. This (along with an amazing crew) helped us realize our goal of shooting within the tight time frame imposed upon us. In fact, the only "floor instrument" we used throughout the day was a tweenie gelled with 1/4 CTO bounced into a 4x4 bead board.
Click to expand...

Impressive work. I'm interested in this project. Any footage? camera setup?
 
USLatin said:
I don't have a wide enough lens on my camera to show the setup but this one was quite intricate for a small room. I think there were about 10 lights working.
Click to expand...

Must have been 110 degrees in there :huh:

Do you have a screenshot of what all those lights looked like in the camera?
 
dlang said:
PDX...I love the look of this setup, especially the tight shots. amazing what well thought out lighting design can accomplish. That's crazy that they are only 100w household bulbs? Looks like you had a 35mm apapter too, I 'm enamored that you got enough stop out of those lights. Well done.
Click to expand...

Patrick's work is indeed impressive.

And no 35mm adaptor around gives a look this good :-). I was there, that's my Red cam.
 
whoop don't want to let this one die...Comon' guys this could be veeery educational. Thanks To those who've contributed already...great work!
 
It sucked... summer. These are some of the variations in the room. The grading was just some color balance stuff I tried when I first opened them.

1215028035.jpg




1214993638.jpg
 
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