Lighting day outside

[NathanPresley]

I'm shooting a commercial outside
with mini interviews and I brought a few lights and I felt like nothing
would even show a difference . I did it with and without lights. It seems you need
much much higher wattage when shooting outside during the day.

Is this Right ?

and how do you suggest I light a scene well ?

(if that makes sense)

thanks

 

[epplegacks]

This is partially just my choice of aesthetics, but if I'm going to have that talking heads outside I compose my shot and based on the shadows on the face I use a gold photography reflector to key the side of the face. It makes skin look warmer and more natural than just a silver reflector (again, in my opinion) and with this little bit of light you pop the subject a little from the background (having a shallow DOF also helps especially in big location like a field) and most importantly it puts lights in the eyes and gives you that little glint which makes looking into their eyes much more pleasant. Hope it helps.

 

[dlang]

well it's pretty hard to compete with the amount of light coming from the sun, so your best bet is to bag the fixture idea and use the sun as your light source. Position your subject appropriately and then bounce light back onto him using foam core, or card board wrapped in aluminum foil. Foam core will work well and it's very cheap, around 5 bucks for big ol' piece.

 

[filmat11]

If I know that I'm shooting interviews outdoors, I will make arrangements to have at least 2- 1200 watt HMI's and a 400 watt joker light (HMI as well). I then order either an 8'ft x 8'ft or a 12'ft x 12'ft overhead frame to hold a white silk. I like to hang the frame about 3-5 feet above the talent. Each day is different on the height, and this depends on the how well the weather is cooperating. If it's really bright, I'll also add a double net on top of the silk to cut light even more. Use the 1200's to key and edge or key and fill, and use the 400 on either hair,or background. Of course, not every shoot is the same, and I may use the 400 for fill and the extra 1200 for edge or backlight. A 4'x4' piece of foam core for fill if needed. Shinny boards (reflectors) are also great for outdoors, and I use them quite a bit. Especially for edge and back lighting . If use use the matte surface of one of these boards, they are good for faces, and can be used for key and front fill. I often soften them even more by placing a 4'x4' ft silk between the board and whatever your lighting. Good luck..

 

[Icarus2005]

Filmat11 makes some good points

exteriors are not for amatures. to do it right requires a LOT of expensive equipment. That said, I've shot some beautiful interviews in exterior locations with NOTHING but natural lighting. Of course, you need to know how to use the sun in your favor and pick the right location.

When trying to do real filmic work outdoors you always want to have bounce handy, reflectors and diffusion.

12x12 silk, 1/4 silk, or double nets are nice.
6x6 silver, gold or checkerboard are good for backlight bounce
12x12 or 6x6 ultrabouce is common for fill, or on can use mirrors shooting through 216frame

I like to use the above when possible. when there is a good budget you bring out some big HMI lights 2.5k, 4k, and 6ks

The most beautiful shots are very expensive to achive and make look natural and most of us can't afford the equipment