I've been able to do a good job of lighting talent with reflectors when it is one person and they aren't moving but what are some of you guys solutions to lighting multiple people at once or having talent that is moving in the shot. The problem im running into is it is hard enough to aim sunlight from a reflector onto someone but trying to consistently aim light while someone is moving is even harder and one little mess up causing light to flicker all over the place can definitely take the viewer out of the scene.
Outdoor lighting for moving/multiple subjects?
- Thread starter dtjohns1
- Start date
The problem with talent that moves is that you can’t put them under a silk which means that you need a big source to light them. Movies that I have worked on use a 12k Par on a western dolly leading the actors. A 4x frame with heavy diffusion is used to soften the 12k so that it looks even. Lighting with boards is much harsher and will cause the talent to squint.
Where you probably can’t afford a big HMI and the big generator to operate it, your best bet would be a 4k Par through a light diffusion. You can run a 4k on a modified 7500W Honda EU6500is generator. To record dialogue without picking up the sound of the generator, run the generator out of the back of a van or truck. To avoid line loss over the long cable run to the generator use a Transformer/Distro on set to boost the voltage to compensate for the drop of voltage you will get over the long cable run. Rig the 4k on a doorway dolly and lead the actors by about 15’ and it will look good in a medium two shot as long as the sun is behind them.
If you are lighting a stationary group, it helps to put them under a full silk to take the direction out of the sun. A full silk will enable you to use the 4k closer, with heavier diffusion, to model their faces. If you use a Power Factor Corrected 4k, you will have enough left over on a modified 7500W Honda EU6500 to also power an 1800W Par or ARRIMAX to serve as a kicker.
If you have any questions about using transformers with generators, I would suggest you read an article I wrote on the use of portable generators in motion picture production. Harry Box, author of “The Set Lighting Technician’s Handbook” has cited my article in the just released Fourth Edition of the handbook. In addition, he has established a link to it from the companion website for the Fourth Edition of the Handbook, called “Box Book Extras.”
If you haven't yet read the article, or looked at it in a while, it is worth reading. I have greatly expanded it to be the definitive resource on portable power generation for motion picture production. Of the article Harry Box states:
"Great work!... this is the kind of thing I think very few technician's ever get to see, and as a result many people have absolutely no idea why things stop working."
"Following the prescriptions contained in this article enables the operation of bigger lights, or more smaller lights, on portable generators than has ever been possible before."
"Following the prescriptions contained in this article enables the operation of bigger lights, or more smaller lights, on portable generators than has ever been possible before."
The “Box Book Extras,” site is also worth checking out because it includes other source material used for the handbook, articles by Harry Box published in other periodicals, related websites, a list of production oriented i-phone apps, as well as more in depth discussion of topics touched upon in the handbook. You can log onto the Box Book Extras site at http://booksite.focalpress.com/box/setlighting/ with our pass-code "setlighting." Use this link for my news letter article on the use of portable gas generators in motion picture production.
Guy Holt, Gaffer, SceenLight & Grip, Lighting and Grip Rental & Sales in Boston.
Thanks guys! @matty_g if i'm using a dslr (which dr sucks and it is easy to blow out the highlights) and im trying to light the talent so there is no overexposure in my skies, glass, or cars and buildings that are white will using a white bounce be enough or do i need to use shiny boards
mattsdni
Active member
I use massive boards with crumpled aluminum foil hot glued to them. No smaller than 4x4. I leave the back of the boards plain white if I need less fill. Crumpling the foil is the trick to avoid "water shimmer". You can always have a grip follow your talent around with the reflector.