DVXuser's Lighting Setup Examples

[Luis Caffesse]

This thread is dedicated to showing real world lighting setups that members have used on set.

Anyone on the site is welcomed and encouraged to add to this.
The more references we have the more we can all learn from each other.


If you would like to add an example to this thread from your own shoot, here are the requirements:

1) A short description of the shot with any pertinent information.

2) A frame grab from the actual footage

3) An overhead graphic of the lighting setup.
If you need a guide to go off of you can download the PSD file I created for my lighting setups here​

​

Please note:
This thread is only for examples -
Each lighting setup will be given its own thread for discussion with a link posted here.

Hopefully over time this can become a great resource for all of us.
If you'd like to add an example to this thread, please send me a PM so we can make it happen.

Thanks.
:thumbsup:

 

[Luis Caffesse]

POSTED BY MEMBER: LUIS CAFFESSE

DISCUSSION THREAD: http://www.dvxuser.com/V6/showthread.php?t=141834


I've been working on a project recently which, due to budget constraints, I am shooting alone. I wound up having to put together a lighting diagram for someone and figured some people here might find this useful.

These are basic midshot static interviews.
I'm not putting this forth as THE way to light interviews, but just to give you an idea.
Clearly others could have done better.

My main concern in these situations is to be able to get in and setup quickly, and breakdown and exit just as fast. I am working completely alone, so the amount of gear I take with me has to be minimal, and multifaceted. I should add that I never see the location until I get there - usually I'm shooting in people's homes or offices, and I'm lucky to get them to give me 30 minutes of their time in the first place.

Usually I'll try to work with the natural light as much as I can (as in the first example).
But sometimes it's just not possible (as in the second example), which is why it's always good to leave yourself options in your kit (ie. Either daylight and tungsten balanced bulbs, or the appropriate gels).


Here is a reference frame - keep in mind this is raw footage straight off the cards:

In this case I was able to use the bank of windows in the office to my advantage.
The rest was done with only two small lights:

EXAMPLE 2:

In this next example the room was lit with Flourescents in the ceiling, but also had a bank of windows along the wall. Unfortunately, when I turned off the flos in the ceiling, the daylight alone wasn't enough to really get me by - so I had to keep the flos, and try to shoot with a tungsten balance instead (trying in the meantime to keep as much daylight off the subject as possible).

Luckily I had tungsten balanced bulbs with me for the florescent light - so I switched them out and used a reflector very close to the talent (just outside of frame) to both bounce the tungstel light back at him, and block the daylight from hitting his face.

Like I said, these aren't necessarily the best lit interviews - but given that I only had about 20 minutes of setup time (which includes walking into the room and figuring out where to shoot), and was working alone, I think the results are passable.

Hopefully some of you find this information useful.
And if you see anything you think I could have done differently/better - feel free to chime in.

I'd be interested to hear from more people who do 'one man band' shooting.

 

[Luis Caffesse]

POSTED BY MEMBER: ERIK OLSON

DISCUSSION THREAD: http://www.dvxuser.com/V6/showthread.php?t=141834




Those approximate what I try and do on my HD interviews. I recently did a solo for Discovery Studios where the producer called in by cell phone and interviewed the subject on speaker phone.

Had an hour to light, mic and set up the call. Used four Arri fixtures. The 650 1/2 CTB was talent left at 1/3 angle with a 2x2 Chimera softbox, backlight was a 300w with 1/2 CTB. Another 300w with 1/2 CTB was filling a daylight foyer behind her and the 150w at 1/2 CTB was punching a little light on a rather dark painting over her shoulder.

I always find the most color without busy-ness to place behind the subject - unless the subject matter demands something different.


e

 

[Luis Caffesse]

POSTED BY MEMBER: HUNTER RICHARDS

DISCUSSION THREAD: http://www.dvxuser.com/V6/showthread.php?t=145058




I was recently the DP of a basketball themed indie-feature film titled, "Winning Favor" (2009 release, shot entirely on RED). It was based on a true story and featured some moody moments. The director, Jamey Durham allowed me to have plenty of creative control for creating moods with the photography. (Control: The best thing that can happen to a DP!)

For this scene, Chris (lead role), found out his close grandma has died just before the game, he is alone and soaking it in before making the decision to go ahead and play the game anyways for her. The camera's slow press in adds to the feel of the scene.

Here is how this scene in particular went:

And here is the diagram:

One of my favorite things about lighting (besides it lets you see!) is that once you understand the basic concepts, you can do so much with it. I used strong colored gels, hard shadows and foreground objects to accent the mood in this scene. Notice how I let the open locker door act as a golden fill on Chris's face.


rear view for reference:

With this being my time as a DP on a feature I tried to get as much advice as I could. Thankfully, Francis Kenny, ASC was kind enough to share some very helpful tips with me before photography started. His advice was; "Don't over-light anything, be consistent, and only light what you want the audience to see"

Wise words.



Another scene for reference but in the same location, Similar lighting set-up but I just added a light (and added double tough frost on the lights), can you see where the extra 300w tungsten Fresnel light is?: (look at the shadows)

For more stills from "Winning Favor" you can visit my blog at, www.LightPlusMotion.com. I will be more than happy to answer any questions about other lighting set-ups you might find there.

 

[Luis Caffesse]

POSTED BY MEMBER: sfoster

DISCUSSION THREAD: http://www.dvxuser.com/V6/showthread.php?t=145818




I tend to do things backwards I've been told, however, I thought I'd post my lighting setup for a shot of Mark Aro's "Netherborn". So without further adieu. Here is the shot. . .

This shot was accomplished with 4 1k's and a little 200W kicker that I didn't list in the setup because it was only used in the wider shot you can see below to brighten up the guitar a little bit. Here is the basic setup:

You can see the setup a little in this wide shot:

We bounced the 1k pointed away from the actor off the wall for some ambient light, and then moved the softbox back until we reached the desired shadow level. Then we switched on the 2-1k's outside the window and added ND gels until it was in our range. I prefer to operate by starting with the shadows and then adding my primary light after I make sure I don't lose my details!

Happy Lighting!!!

 

[Luis Caffesse]

POSTED BY MEMBER: Robbie Comeau

DISCUSSION THREAD: http://www.dvxuser.com/V6/showthread.php?t=147056




I'm just trying to show that you can get decent lighting with decent lights, and some setups.

There are the images, and this is how I got that look:

Just some simple lighting, a 100 watt house lamp, and a 500 watt work light.

I softened the work light with a piece of paper!

In post, I played with the colors, and I crushed the black to get rid of the blanket.

Here's the video: http://e1.video.blip.tv/1030001759387/ComeauProductions-Interview109.mov

As you can see, the back light isn't the best, and you can see the background blanket and noise. So this is my first time ever trying this type of lighting (getting the background pitch black) so I learned some things.

Enjoy!

 

[Luis Caffesse]

POSTED BY MEMBER: Robbie Comeau

DISCUSSION THREAD: http://www.dvxuser.com/V6/showthread.php?t=147102





Shot on the DVX.

Used 1000 watt work light kit on the bear with reflector, and a 500 watt work light for the wall.

Camera was a good 6-8 feet back from the bear.

This image shows the originals. (left) and then the CC'ed (right)
For the color corrected ones on the right, I just crushed the blacks and brightened the images a tad.

They also show the image without the reflector and with!

And here's the set up!

Enjoy,

Robbie

 

[Luis Caffesse]

POSTED BY MEMBER: Brandon Rice

DISCUSSION THREAD: http://www.dvxuser.com/V6/showthread.php?t=147473




Using HVX/SGpro adapter.

Here's the screenshot.

And here's the setup!

Enjoy! hope it's helpful.