Outside window lights...
- Thread starter petelms
- Start date
mikkowilson
Steadi-Guru
Big ones.
I was tailing a production a few years back in LA and they had these huge HMIs that where equivilant to about 32KW normal lamp!
THey had 2 and they used them whenever they needed daylight.
One shot was INTs which where shot at night but had sunligght coming in through the windows. They also used them to light up the "outside" of a house that was built in a sound stage.
Damn bright stuff!
- Mikko
I was tailing a production a few years back in LA and they had these huge HMIs that where equivilant to about 32KW normal lamp!
THey had 2 and they used them whenever they needed daylight.
One shot was INTs which where shot at night but had sunligght coming in through the windows. They also used them to light up the "outside" of a house that was built in a sound stage.
Damn bright stuff!
- Mikko
Gopher_Greene
Well-known member
What you see in this grab is probably a 24k or 12k tungsten light. Remeber if your lighting indoors with tungsten and shine either daylight or HMI through the window they will look blue, not white.
david_kuznicki
Well-known member
Gopher_Greene said:
I'm not sure that made sense...
I'm betting that it is, indeed, an HMI used with tungsten film.
Just a guess, tough.
David Kuznicki
Production Manager, WGTE-TV30
Gopher_Greene
Well-known member
I can't believe it is, It looks like the light to the right is the same light and look at how orange it is. I think they put something on the window, maybe a 1/2 or 1/4 CTB
Keith McNulty
Member
Looks to me as if it's 2 lights, maybe a 1200 par outside and a 2k or 1k tungsten inside, that would explain the orange tint on the right and the conflicting shadow angles on the floor.
taubkin
Veteran
Well, it's hard to tell what is the power of the lamp. We don't know how stopped down was the camera, nor what stock they used. For a general ambient punch from the windows, in a room as large as this, we could have do with a 5K tungsten (for faster stock/fast lenses) or an 18K HMI (or more) for asa 100 stopped down lenses. It depends on the budget and aesthetic choice.
If making defined shadows isn't a concern (or you just want a diffused light coming in), the cheaper alternative (what I do all the time at school) is to use dinos or brutes, par64 lamp-based lights through a silk. A minibrute will have roughly about 4200W tungsten light. They can work very well for 500 and 250 asa film, and I, working on location - daylit, made it work somewhat painfully with a 250 daylight film through a full CTB gel (but that was an extreme situation).
If making defined shadows isn't a concern (or you just want a diffused light coming in), the cheaper alternative (what I do all the time at school) is to use dinos or brutes, par64 lamp-based lights through a silk. A minibrute will have roughly about 4200W tungsten light. They can work very well for 500 and 250 asa film, and I, working on location - daylit, made it work somewhat painfully with a 250 daylight film through a full CTB gel (but that was an extreme situation).
I guest it is harder to figure out what they use on the set since we dont have any feedback, and looks may be deceiving. Remember what Stanley Kubrick used in "Barry Lynden", not lots of fancy lighting but a Zeiss lens from a still photo camera, f 0.675 custom rigged to be used in the movie camera. Such toy allowed to shoot beautyfull scenes with the light of a candle.
Filmmaker04
Member
I would argue its a couple of high wattage HMI's... but yes, it could be nearly anything since we don't have any feedback from the actual gaffer. HMI's are usually the most common way to pull this off though.
