Lighting for Kitchens

S

Sam Lebo

Member
i've got just two cameras for these kitchens (give it time to load) and i want to do as few takes as possible (to keep a good continuity). How would you setup the cameras and lighting? Would it be just one on a tripod and one with a cameraman holding a steadicam? what about getting shots above the stove?

kitchen 1 - main shot http://adiel.com/hacked/le_clear_further_back_main_shot.JPG

kitchen 1 - wil this window be a lighting issue?
http://adiel.com/hacked/le_view_of_window.JPG

kitchen 1 - larger view of the set
http://adiel.com/hacked/le_from_back_wall.jpg

kitchen 1 - other side of the same kitchen - Another possible set?
http://adiel.com/hacked/le_view_of_milchigs.JPG


Another Kitchen:

kitchen 2 - main cam view
http://adiel.com/hacked/mt_front_view_main.JPG

kitchen 2 - side view
http://adiel.com/hacked/mt_side_view2.JPG

please help!
 
I would leave the lights on that are there now for the pools of light they are creating. The window is casting blue on your scene which could be an aesthetic but if you are going to start shooting near the evening where the light changes faster I would throw up a scrim and blast a 2-4k cto gelled through the window and try not to shoot that direction. If you have to go that direction put ctb gells over the lights that are there and on the others you put up.
For the inside I would put up a couple of Kinos for fill and maybe a few 300s and make some more pools of light. If you are using a 35mm adapter and trying to keep it at F5.6 on the lens and whatever on the camera then you are going to have to use 650s instead of 300s for the wides, the 300s will work for the closer shots but at the more closed F stops it won't show. I'm dealing with that now, the DP is keeping the camera and the adapter at its sharpest F stops and I have to light bright to see effect.
 
Sam Lebo said:
I don't think i totally understand everything you're saying.

but let me know if this solution that someone suggested would also work:

since im using 2 dvx100b's i could fill in the window with some artisitc covering or window blinds and then fill up the whole room with light from one of these:

http://www.coollights.biz/cl455-cool-lights-watt-fluorescent-video-soft-light-p-31.html

they said the 6500K is best color for this type of production (cooking show).
Click to expand...

um, 6500 might be a bit too blue. unless thats the look you are going for.at that, even daylight will appear silghtly warm, which might be cool but i would probably keep the lights at 5500.
 
>i've got just two cameras for these kitchens (give it time to load) and i want to >do as few takes as possible (to keep a good continuity).

Get a good script sup and DP, single camera should be no problem.
Just my personal preference.

-j
 
Aram Bauman said:
which part are you not understanding?
Click to expand...
im for sure shooting with the DVX and not 35 mm. are you suggesting that i put some lights on the outside of the window with some gels and then some more lights (same color as the existing pools of light) to fill the room?
 
j said:
>i've got just two cameras for these kitchens (give it time to load) and i want to >do as few takes as possible (to keep a good continuity).

Get a good script sup and DP, single camera should be no problem.
Just my personal preference.

-j
Click to expand...
i have no idea how to fully script this. in my mind, it'll be semi-scripted because some of the things which the chefs say will be as they do the demo and some of what they say will be required.

is the food network scripted? hardly! some of it is rehearsed, but most of it (including camera positions) is made up.
 
Sam Lebo said:
im for sure shooting with the DVX and not 35 mm. are you suggesting that i put some lights on the outside of the window with some gels and then some more lights (same color as the existing pools of light) to fill the room?
Click to expand...

yes. You want to make the light coming in the window tungsten color or orangish looking. You can see the blue that the daylight is giving you in those shots. You can also go the other direction and color all of the inside lights blue to match the daylight but then you have to work fast and have to worry about the changing position of the sun.
 
>i have no idea how to fully script this. in my mind, it'll be semi-scripted

Sorry, I didn't know it was non narrative. It should then of course be multi-camera!

-j
 
what you have there is definitely enough. Just use the daylight as fill and place your cool light on an angle opposite the window. You got those practicals as hairlights ( if they will even be ipcked up at all ) which will be slightly yellow.
 
I second PaPa, but I´d use one daylight soft light coming from the same side of the window (just a little bit more frontal), to strengthen the window as the main key and then fill from opposite of the window and further away...
Than you could rig a 150 or 300 fresnel up behind the chef as a hairlight/backlight...
Finally you could hide a VidLed right above the cooking area to get enough light inside pans and pots...
Good luck and have fun!
 
I would decide if you want to go tungsten or daylight.

If you go tungsten, Gel the windows with 85 or nd85 gell, then use tungsten bulbs in the soffet lights and tungsten lights with chimeras or kinos with tungsten bulbs for the main lighting.

If you go daylight, I'd put an 8' or larger silk several feet outside the window to diffuse the light and keep the background from getting distracting. I'd put daylight CFL bulbs in the soffets, and shoot with daylight kinos or fluorescent lights.

-J
 
j said:
I would decide if you want to go tungsten or daylight.

If you go tungsten, Gel the windows with 85 or nd85 gell, then use tungsten bulbs in the soffet lights and tungsten lights with chimeras or kinos with tungsten bulbs for the main lighting.

If you go daylight, I'd put an 8' or larger silk several feet outside the window to diffuse the light and keep the background from getting distracting. I'd put daylight CFL bulbs in the soffets, and shoot with daylight kinos or fluorescent lights.

-J
Click to expand...

haha well now, i was trying to keep things simple, but :P
 
j said:
I would decide if you want to go tungsten or daylight.

If you go tungsten, Gel the windows with 85 or nd85 gell, then use tungsten bulbs in the soffet lights and tungsten lights with chimeras or kinos with tungsten bulbs for the main lighting.

If you go daylight, I'd put an 8' or larger silk several feet outside the window to diffuse the light and keep the background from getting distracting. I'd put daylight CFL bulbs in the soffets, and shoot with daylight kinos or fluorescent lights.

-J
Click to expand...

I completely agree. Mixing those lights will cause you nothing but headaches. Id go one step further, depending on the shot and completely black out that window in the first shot. From there you can control the overall feel and mood, and no matter when you shoot, weather it be 11 am or 11pm your set is going to be consistent.
 
ncje said:
I completely agree. Mixing those lights will cause you nothing but headaches. Id go one step further, depending on the shot and completely black out that window in the first shot. From there you can control the overall feel and mood, and no matter when you shoot, weather it be 11 am or 11pm your set is going to be consistent.
Click to expand...

thank you ncje, i like your input the best. i can block up the window and shoot all day long without the headache of double and triple checking the color of the light in my field monitor etc. it'll save me time and money just to fill the whole room with some soft 5600k light and shoot away.

the only issue is how will i cover up the window without getting the ugly cover up in the shot? should i get some nice blinds? will the little bit of light which comes through be a problem?
 
Another option - instead of just BLACK. Get a square of foam core that can fit snuggly into the frame. Cover it with some material, black or anything to your licking and tape it on, then should just fit in the frame and let the blind down, with some light spilling onto the partially open blinds causing some shadow on the material, may look a little nice if it ends up in shot.
 
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