Lighting a classroom

Steve Strickland

Steve Strickland

Well-known member
I've got a shoot coming up in the next couple of weeks that takes place in a classroom. There are big windows along one side of the room with about eight flourescent fixtures overhead. I've never shot with such large windows and would like some input from some of the lighting pros here on how to get a decent look. I dont' really have the budget to gel such a large area with proper ND material. Is there anything else I could use, like generic window tint, that could be done DIY style?

Here are some stills from room:

1212511115.jpg

1212511155.jpg


My first reaction was to not even touch the overheads due to possible flickering/ugly green cast. Then, I watched School Of Rock again last night and noticed they used overhead flos that seemed natural to a classroom setting. The lighting design in the movie is exactly what I'd like to achieve. Would changing the flos to daylight tubes help?

Here is a reference still from S.O.R.:

1212511526.jpg


Thanks to any advice/help anyone can offer. I'd love to hear peoples input on how they would conquer this task.
 
I'd be curious to know at which part of the day you get some killer sunlight coming through the windows and for how long.

Get all of your wides and masters during this period and then move to C.U.'s and coverage when you lost that massive source.
 
Thanks John.

Lucky enough, the big windows are facing North and do let in some good light. I'm going to get access to the room a few days before filming, so I'll check out the conditions while we are dressing the set. My bet is that early morning is going to look pretty good.
 
Just my .02 but what kind of a film is it? I mean, matching the overheads with daylight would probably be worth it for a slick comedy feel, but if it's a psycho-thriller where you want to use aggressive CC in post it could actually help to not match the lighting.
 
CharlieG said:
What's the Kelvin temp of the room with your mixed light?
Click to expand...

I honestly have no idea. I just snapped a couple of quick pics while being shown the location. Sorry for my ignorance, but how do I measure that?

Gohanto said:
Just my .02 but what kind of a film is it? I mean, matching the overheads with daylight would probably be worth it for a slick comedy feel, but if it's a psycho-thriller where you want to use aggressive CC in post it could actually help to not match the lighting.
Click to expand...

Well, it is a twisted little tale of misguided love. Definitely some psycho-ness in there. I describe it as a Goosebumps like story. The movie shifts gears for the payoff.
 
In those shots, the daylight is your obvious key. I'd try to keep from shooting the windows too much and bring in fill to keep from having shadows that are too harsh and bring continuity challenges.

As John stated, it would be best to grab your coverage / wide shots when you have the most light - to whatever extent your script will allow.

My bet is that you're still above 5000K based on those photos.

e
 
Thanks Eric.

I've never had the luxury of having time to run tests on a set before production. This freedom is new to me.:laugh:

I can't wait to see what works. Thanks for the input.
 
This is easy, 5600K daylight is your color temp & key, look at the picture! The window's footcandles wipe out the flour's fc. Changing the flours to daylight is the best solution; use foam core for balance fill.

Going cheap: Fill with tunsten lights using gel, CTB full or CTB 3/4 for a little more warmth. Use foam core for bounce fill close ups.

Got budget: Rent HMI 400 watt with foam core board for bounce: fill mid to close up.

You might get gel, Rosco 3308, for the flours to balance to daylight.

Make sure your white card is actually white. White balance the camera and then again every few hours... This really helps and is often neglected.

Run tests ahead of time, is always the best insurance policy.

Use an incident light meter and keep the footcandles consistent throughout the day. You might plan as suggested getting the wide shots first unless you have significant time/costume and set changes. Always schedule your shoot from day-outside 1st, to day-inside, then to night-outside & then to night-inside.

Also, after looking at the pics School of Rock and your snap shots, the SOR has everyone in dull muted colors/clothes [Navy blue & gray] while your shot is full of color, the map on the floors POPS! For SOR they probably want this dull school atmosphere to contrast with the crazy rock n roll freedom of Jack Black, in other words, the colors help tell the story. You might want to think about this angle also.
 
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Wow. Great suggestions.

I'll definitely incorporate these techniques in my tests. Knowing what works before we shoot will be HUGE.

Thanks a lot 10s!
 
Also, I only see 4 banks of flours, 2 tubes each. Go to Home Depot and look for daylight balanced 5500k or 5600 k flours. It appears you'll need only 8 of them & a ladder, that's easy! ;)
 
All good stuff! Take a few on-set photos of your lighting set-up when you shoot. Break a leg.

e
 
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