All softbox lighting.

[TheJetBlack]

suggest you pour yourself into the craft of lighting, if you want to do it right. You may begin with reading http://www.dvxuser.com/V6/showthread.php?220459-RPO-s-Why-We-Need-Light-Article-Series., a fellow DVXuser, who breaks down lighting for aesthetic impact. I think nary a C-stand nor a pepper is mentioned in that thread. It focuses on the art and the why behind lighting, which are just as important as the how.

I read this. And I plan on reading it again. It's very helpful.

Here is the truth of the matter:

Nothing is easy. Nothing is quick.

True, but I'm a no-budget filmmaker. I don't wanna over think lighting, 'cause I wanna also concentrate on the many other things I will be doing. I wanna know what works and what doesn't. What's recommended, what's not recommended. I'll experiment. Trial and error. Go again.

And I stick by asking questions first. Books are good guides, but they don't talk back. I want feedback from actual people, because it's better.

Acclimate yourself to the common lighting schemes of cinema. You are quoting the setups of films you liked, and you advertise you would like to recreate them, but is that the best service to your film? Are you going to make Shutter Island II? Your lighting should be motivated by your vision for the scene and what you want that scene to convey to the audience

That was simply a reference to how Scorsese usually has the halo lighting. Did it in Casino as well. I like it and just wanted to know how it can be achieved. It's a look that I like and it fits what I'm writing.

 

[Huy Vu]

True, but I'm a no-budget filmmaker. I don't wanna over think lighting, 'cause I wanna also concentrate on the many other things I will be doing.

Then you're probably better off finding someone to DP your film. Trying to learn everything at once on a superficial level means that you'll never be good at any of it.

I wanna know what works and what doesn't. What's recommended, what's not recommended.

Don't look for simplistic answer. Like jscott said, nothing is easy and nothing is quick. The truth is that you can use anything to light once you understand the principle behind lighting. I've seen great results from Home Depot worklights and I've seen crap work with top of the line Arris. We can give you short answers like "Use only hardlight for hair light" and you'll trap yourself into thinking that's the only way to do it. In fact, soft lights are used for hair light all the times on film set, provided that they can be positioned close enough so that their output doesn't dissipate over large distance. You can also easily use softlight as a harder key light if you position them closer to the talent. That's just to show that lighting is a complex craft that can't readily be compressed into simple generalizations. Take the time to learn and study it properly.

 

[j1clark@ucsd.edu]

That was simply a reference to how Scorsese usually has the halo lighting. Did it in Casino as well. I like it and just wanted to know how it can be achieved. It's a look that I like and it fits what I'm writing.

Scorsese did many things. He even got kicked off a film, "The Honeymoon Killers"(1969), which I think I've read, he admitted he wasn't 'doing the job right'...

If you want to follow Scorsese, probably a look at "Raging Bull"(1980), it has been a while... like probably around 1980... since I've seen it, but it is a fairly well referenced
film, and has pretty 'achievable' lighting for the budget minded filmmaker.

Later films when he had the status, allowed him to do more with more... it sort of works that way...

 

[TheJetBlack]

Raging Bull is actually my favorite film. Loved every aspect of it. Masterpiece.

Then you're probably better off finding someone to DP your film. Trying to learn everything at once on a superficial level means that you'll never be good at any of it.

Why let someone else have all the fun? I know I can do it, so I'm gonna do it.

Don't look for simplistic answer. Like jscott said, nothing is easy and nothing is quick. The truth is that you can use anything to light once you understand the principle behind lighting. I've seen great results from Home Depot worklights and I've seen crap work with top of the line Arris. We can give you short answers like "Use only hardlight for hair light" and you'll trap yourself into thinking that's the only way to do it. In fact, soft lights are used for hair light all the times on film set, provided that they can be positioned close enough so that their output doesn't dissipate over large distance. You can also easily use softlight as a harder key light if you position them closer to the talent. That's just to show that lighting is a complex craft that can't readily be compressed into simple generalizations.

So what you just said here -- that's actually more helpful than anything. You're telling me what works, what doesn't, and what's been used. What are the contradictions of people's perceptions -- that's helpful. I want to know that and go off and do it -- see what I like and arrive at what's right on my own. That's it.

Take the time to learn and study it properly.

I learn by doing.