How to light this room?

P

patrickbaldwin

Well-known member
I have been asked to quote to film a group of 6 people sitting in U shape either on sofas or chairs in this room and I am wondering how best to light it. This is for Youtube so not an endless budget at all. They want costs and then they will decide. It's in the evening so dark outside and I imagine shooting towards the drapes in the picture but with them closed. I think that is better than shooting back towards the door not that I have seen it. It would be a three camera shoot probably. I cannot think of a way to light it without seeing at least light stands in the back corners but I think that might have to be the case. I own three Aputure 528's and an LS1. I don't think a Manfrotto autopole type arrangement between the two walls to hang lights off would be allowed. I had thought of something like a Kino Flo Select 30 behind the cameras over the top but I'm worried about it throwing a shadow on the ceiling like the one that the flash is throwing in the attached image. If anybody has any ideas or thoughts about lighting this I would be incredibly grateful. med_85b38b912ab59dbaffd4c781457efe0a.jpg
 
There is not enough information to decide what to do. Are the three cameras stationary or moving? Where are the cameras? What is the blocking? What is the desired look? I.e. just give them plenty of light for a talk show or is this something that needs some modeling light. That beam in the middle offers an opportunity to have some pipe clamps clamped to it (with some carpet or something to protect the walls) to hang some lights. The same goes for the pillars in the middle.
 
Looks like a ***** to light. Where are the cameras going to be? Having some light outside the window would make the shot look more interesting rather then closed drapes imo.
 
I would be shooting with up to three static cameras on sticks pointing towards the drapes. That was my plan. They would be sitting on chairs in a U shape or on sofas. Its a lifestyle conversation for want of a better phrase. It's not a narrative piece. The idea is to just give enough light for a talk as you say Paul. I don't think they are going to move. I mentioned the autopole in my post but I don't think that would be allowed but I confess I haven't asked.

I thought having the drapes open given that its dark outside at the time of filming would just create horrible reflections of lights and cameras.
 
It's a very small room for how big the table is. If assuming they will sit on the table, given the info you've given so far, id think about a ceiling bounce. It'll spill everywhere and it doesn't seem like you'll have space to flag and shape, but at least everyone will be softly lit.

One light camera left, and one light camera right. Both lighting as large an area of the ceiling as possible.

Based on the equipment you've listed, I don't think clamping an overhead light will yield better results since it would require a large softbox and eggcrate to control spill. If both of these elements were possible, then I'd say clamp light overhead. But if not, just clamping a few small sources up there will render harder shadows, which may not be the best outcome for your talent...although I could be wrong.
 
IF you are not allowed to setup a wall spreader- (room doesn't look too wide but location may not allow)
Large chimera pancake (or equivalent) on a menace arm, better yet 2 large chimera pancakes creating a long soft skirted overhead light.
or
8' Quasar tubes- probably 4 on the appropriate tube holder, again on a menace arm diapered with diffusion and skirted to control the spill.

The stick for the menace are would land towards a corner on the door side.

A couple of your LED lights on sticks to use as fill as needed.
 
abreu-canedo said:
It's a very small room for how big the table is. If assuming they will sit on the table, given the info you've given so far, id think about a ceiling bounce. It'll spill everywhere and it doesn't seem like you'll have space to flag and shape, but at least everyone will be softly lit.

One light camera left, and one light camera right. Both lighting as large an area of the ceiling as possible.

Based on the equipment you've listed, I don't think clamping an overhead light will yield better results since it would require a large softbox and eggcrate to control spill. If both of these elements were possible, then I'd say clamp light overhead. But if not, just clamping a few small sources up there will render harder shadows, which may not be the best outcome for your talent...although I could be wrong.
Click to expand...

The tables won't be there. Sorry I thought I had said that. I was thinking of a large ceiling bounce but I was worried about that central beam causing problems but then on thinking about it the shadow won't be in shot.

Thank you for helping.
 
klk said:
IF you are not allowed to setup a wall spreader- (room doesn't look too wide but location may not allow)
Large chimera pancake (or equivalent) on a menace arm, better yet 2 large chimera pancakes creating a long soft skirted overhead light.
or
8' Quasar tubes- probably 4 on the appropriate tube holder, again on a menace arm diapered with diffusion and skirted to control the spill.

The stick for the menace are would land towards a corner on the door side.

A couple of your LED lights on sticks to use as fill as needed.
Click to expand...


Thank you for that. I will have a look at menace arms.
 
I think the first win is placing the horse-shoe of talent at a jaunty angle to the room.

Next you want to sort out the camera positions.

Now think hard if you are going to show both walls.

Because if you can keep the right (or left) wall out then just line up your lights and bounce them off that wall - way more efficient than dumbo space eating soft boxes.

If you had a fresnel or two you could fire them into the top of the seen wall to bouce back for a bit of hair light.

Id also try and get a couple of practicals into the corners.. take your own 10w tungsten bulbs.

I think 'flying' lights is a bit of a last resort with all that white to bounce off and risks panda eyes.

And yep keep the ceiling out of shot.

You could also re-lamp the choach lights on the walls or just leve them as is. it would be nice to diffuse them somehow - maybe 'pop' to ikea

Remember the inverse square law means that talent close to fixtures creates hell when you are lighting multiple talent.. another argument for boucing from side walls.

Keeping the curtain open could create 'depth' but also knacker you for reflections.
 
morgan_moore said:
I think the first win is placing the horse-shoe of talent at a jaunty angle to the room.

Next you want to sort out the camera positions.

Now think hard if you are going to show both walls.

Because if you can keep the right (or left) wall out then just line up your lights and bounce them off that wall - way more efficient than dumbo space eating soft boxes.

If you had a fresnel or two you could fire them into the top of the seen wall to bouce back for a bit of hair light.

Id also try and get a couple of practicals into the corners.. take your own 10w tungsten bulbs.

I think 'flying' lights is a bit of a last resort with all that white to bounce off and risks panda eyes.

And yep keep the ceiling out of shot.

You could also re-lamp the choach lights on the walls or just leve them as is. it would be nice to diffuse them somehow - maybe 'pop' to ikea

Remember the inverse square law means that talent close to fixtures creates hell when you are lighting multiple talent.. another argument for boucing from side walls.

Keeping the curtain open could create 'depth' but also knacker you for reflections.
Click to expand...

Thanks very much Sam. Food for thought.
 
Im seeing this..

Right wall in shot, practical on table in far corner talent in a U to the right. cnetred 2/3 down the right wall.

Your leads cameras and lights hugging the left wall - talent then get a 'safe route' from door to seats without kicking your kit.

A cam wide, left 1/3 down the left wall
Bcam left close corner
C cam far left corner

Lights bounced off walls placed between the cameras, fresnel if poss hitting the far corner to create a bit of backlight.

Probably too much traffic in the corridor but you could frostand 1/4 CTO the enrance door and shoot a light through that to create pretty for C cam.

Fundamentally the room is really too small for six
 
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..this setup could even work when they (stupidly) suggest an arrival shot Ccam is placed for that.

And you are not crossing the line.

and now the mics! and the soundie, and the three operators!
 
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morgan_moore said:
Im seeing this..

Right wall in shot, practical on table in far corner talent in a U to the right. cnetred 2/3 down the right wall.

Your leads cameras and lights hugging the left wall - talent then get a 'safe route' from door to seats without kicking your kit.

A cam wide, left 1/3 down the left wall
Bcam left close corner
C cam far left corner

Lights bounced off walls placed between the cameras, fresnel if poss hitting the far corner to create a bit of backlight.

Probably too much traffic in the corridor but you could frostand 1/4 CTO the enrance door and shoot a light through that to create pretty for C cam.

Fundamentally the room is really too small for six
Click to expand...

Thanks for that Sam. I will give it some serious thought. Nearest thing I have to a fresnel is a 2K blonde!
 
WHat is the LS1 - that with barndoors (ideally) or a snoot could fire over to the back wall. If you were properly rigging it you could place a poly at 45 degrees above the rear table, or a bit further 'up' the room.

It seems you have the perfect setup - three panels and a hard light.

A little shy of power in all the fixtures though I guess

You could consider the 2k blond at the left end corner (door end) bounced to lift the whole room - can you go 3200 with all your lights or would you need to CTB it.

CTemp is not an issue for this shoot of course. Cooking the talent and crew is of course not to mention tripping the breakers.

S
 
The LS1 is this:
https://www.aputure.com/products/ls1-1
Daylight not bi colour. The other three panels are pretty week in this room I think but could work as accent lights so to speak.
I would have to CTB everything to match the blonde.
I have considered hiring a Kino Flo Select 30 to augment what I already have:
https://www.kinoflo.com/Products Button/LED/Select_30_20_DMX/Select_30_20_DMX.html
I am a bit worried about tripping breakers and frying talent with the blonde!

I really appreciate your advice Sam. Thank you very much.
Patrick.
 
Soft, one-point lighting.

063.jpg

The white walls will fill in the shadows. So it would look less dramatic than this. But that's all the more reason to be a bit opinionated in the directionality.
 
combatentropy said:
https://engagelive.co/go-lighting-diagram-familybridal-party-portraits/
Click to expand...

The photo and the lighting diagram do not coalese in a manner that equates to basic physical laws of light traveling in a straight line.

In the diagram the left subject is twice the distance from the source as the right subject and therefore should be two stops darker.

In the seen photo the source must have been considerably further back than the camera or the faces/lefto of the scene lightened in post (simple with a raw still)

http://www.mvpny.com/LightFalloff.html

lightfalloffsquare.jpg
 
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