Lighting for FILM NOIR. PLEASE HELP!

Rick Meyer

Rick Meyer

Veteran
I am planning on shooting a spec commercial in a few weeks that must have a film noir look...hard, controlled low key lighting...(I havent even begun to figure out how I am going to color correct this) my question is, HOW IN THE WORLD DO I DO THAT??? Please, if anybody can steer me in the right direction...Not so much positioning of the lights(though that advice would be great too) but mostly what (cheap please) makeshift light kit can I pick up at a local Home Depot or Hardware store? Last weekend I bought about a $100.00 bucks of what I think is all the wrong stuff. I bought about 4 clamp utility lights, the silver metallic kind. I bought flat black paint to paint them. But I dont think that those silver bowl, shaped housings for the 90w flood lamps are going to be controllable, enough. I think I need barn doors of some sort. At any rate, I am going to take it all back this weekend and start from scratch. Anybody have any ideas for me?
Thanks in advance-
Rick
 
Suggestion #1: Ask me to gaff for you :) See: http://www.birthofthecool.com/films.html

Ok, barring that, I would:

1) Get a book called "The Noir Style" by Alain Silver and James Ursnini. It well written and contains an entire museum's worth of Noir frame grabs, each one a masterpiece.

2) Watch some Noir. I would recommend you get Laura, The Asphalt Jungle, Double Indemnity, Kiss Me Deadly and Gun Crazy. If you only get one, get Double Indemnity (although from a total story perspective, Asphalt Jungle is probably the quintessential Noir)

3) You need to be able to control and shape light. It's not so much about the light as it is about the shadows. Make sure you have lots of flags, scrims, stands OH and cookies - Use cookies!!

4) Noir is not about "motivated light" it is about dramatic light, regardless of motivation

5) Noir has a large depth of field, so don't feel a need to try and reduce it

6) Very little camera movement in Noir (Otto Preminger's Laura being an exception) mostly static shots are used.

That's about it. Read, watch, study, practice, execute!

Matty
 
Oh and one other thing, a tip I recently learned from Walter Graff (who I believe is going to be writing some articles on film noir lighting). Turn the color off on your monitor when shooting, you want to light in black and white (I actually shot mine in black and white) so that you can see how it will really look. You light for contrast not color, although color will effect contrast.
 
Oh and lights.

If you cant afford a basic light kit, you're going to have to make do with what you have. get lots of foamcore, spring clamps, gaffers tape, a couple of rolls of blackwrap and a bunch of stands. you'll have to rig up stuff to control the light.

Matt
 
MattC-

You were just the person I was looking for. Actually, I have read many of your posts and have seen many of your grabs, accentuating strong lighting, and knew you might have some ideas. I considered shooting you a message directly, so I'm glad you replied. I appreciate all of your ideas. I will definitely have to swing by Barbizon in the city and pick up some black wrap and come up with a way to hang these babies. I loved your idea about making the monitor black and white. Excellent idea. And I will look into getting cookies as well. Lighting is such a new area for me that I should follow in your steps and take a class. But I am anxious to learn as I go. By the way, "After the Gig" was an excellent example of what I am going for. I look forward to seeing the short you plan to film this summer. I mean seriously, it was so well done.

RICK

PS Can you suggest an inexpensive replacement to professional (and expensive)lightstands? I JUST purchased my camera two weeks ago, so I am trying to be cost effective everywhere else. But where to hang or how to hang the lights is the doozy....has me scratching my head...
 
Well, Bogen makes some relatively inexpensive stands. You might find something at Home Depot that would work. Tell me more about what you guys are doing.

BTW, I was serious about helping out. Are you in NYC?
 
Matt-

Thanks again for your input in what is fast becoming the Matt and Rick thread. I suppose no one else is interested in Film Noir lighting. ha. I will definitely check out Bogen as well as home depot. I have a few weeks before I'd like to get moving on this.

What we are doing is a series of spec commercials. We'd like to build up a reel and I think that spec commercials are a fine way to do that. (the current workflow, spec commercials now, a short in August). Currently, I am living in upsate NY but I commute down to the city during the week. I am a grad student at NYU for Broadcast design, animation, and post-production. Though its a great school, the program is young and it really nurtures budding animators and those who'd like to make ToyStory 3. There is not a lot there for filmmakers. So, I am planning on making my own projects and utilizing what I am learning in school to elevate the production value using editing, keying, compositing, visual effects, etc.

This spec commercial that we are currently putting together is going to be a make-up commercial that hinges on the film noir style. I think a really strong 30 or 60 second spot that emulates a true Noir will not only be a real fun challenge but will definitely spice up any reel. If you are truly interested in coming along and if you are in the neighborhood, I'd love to have you aboard. Shoot me an email (not really sure how one gets emails here, but if you know how, go ahead and drop me a line here or at RLM7189@aol.com) and I will tell you exactly what I have in mind.

If it doesn't sound like a fit for you, cool, but keep the lighting advice coming. It's helping out a great deal.
Rick
 
Nice look Jubal.

Hey, another quick question...I did a search on the web and found an article written by Walter Graff about his $30dollar "Grafflight". I'd like to make a few of these. However, is there a problem using fluorescents while shooting in 24P? Also, last weekend, I purchased 90w halogen bulbs. Is there a big discrepancy it terms of color temp between these two types of lights?

Thanks-
Rick
 
Very cool man! I just read the whole thing, I liked it. I don't know how you're going to get all of the locations you need, but I liked it. What are your plans for transitions between the real and imaginary states? Any effect? Or just a fade in/out and some sound effects?

Could you explain the significance of the noir lighting for the short? I was reading it was picturing it in noir but couldn't figure out why.

Also, I've read that any referenecs to films within films are usually key items in the film. Your reference to Wizard of Oz was good... what if you were to do a color/no color crossover between reality and dreams.

Just a thought. Anyway, best wishes. I'd be willing to help with any long distant-capable things such as graphics, or even editing. I've had people mail the raw footage of a scene on a dvd+r and then I just mail it back.

Anyway, good luck.
 
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