S
SeanEmer
Guest
I see everyone else is throwing in examples of basic lighting, so I figured I'd offer something too!
All the screenshots are uncorrected raw from the camera (HVX200 720/24p w/ Letus 35 Ex and Nikon Nikkor lenses, mostly 50mm) full res of course
1
The keylight was a 1.2k HMI bounced into showcard and flagged by showcard to get rid of hardlight. Camera was balanced daylight and the inky had a piece of straw on it if I remember correctly. The inky was spotted at the front actor's face, but it washed the background actor and the wood post very nicely as well.
2
The HMI backlit the 'evil' characters with a cool night blue (just 5600k on with 3200k wb) and bounced of the white open door to fill their faces. I gave the girl answering the door a touch of fill on her arms and back by bouncing some weak tungsten sources into the white ceiling inside the house.
3.
In the reverse, some of the tungsten lights were pointed into the wall/door to add to the girl's face, while the 1K and a smaller light remained on the ceiling. A black net was used to cut down the punchiness of the HMI on the actress's back in the foreground, as it was full white and overexposed without the net in place.
4
I was troubled when I came to this scene initially. I was tired of seeing two shots with flat lighting, and I wanted to hint at the darker mood that the script turns to towards the last half. I couldn't fit any lights into the tiny little kitchen, and the camera and crew was in the living room shooting into the kitchen. The two rooms were separated by a 4" thick 1' high divider hanging from the ceiling. I set an HMI on the living room side and angled it just barely above the actor's heads. I shot this into the ceiling and far wall, which acted as a giant soft source to light the actors. It turned out pretty well, too!
I hope this has helped someone! Once I get more time I can try doing some more from a different film I worked on
All the screenshots are uncorrected raw from the camera (HVX200 720/24p w/ Letus 35 Ex and Nikon Nikkor lenses, mostly 50mm) full res of course
1
The keylight was a 1.2k HMI bounced into showcard and flagged by showcard to get rid of hardlight. Camera was balanced daylight and the inky had a piece of straw on it if I remember correctly. The inky was spotted at the front actor's face, but it washed the background actor and the wood post very nicely as well.
2
The HMI backlit the 'evil' characters with a cool night blue (just 5600k on with 3200k wb) and bounced of the white open door to fill their faces. I gave the girl answering the door a touch of fill on her arms and back by bouncing some weak tungsten sources into the white ceiling inside the house.
3.
In the reverse, some of the tungsten lights were pointed into the wall/door to add to the girl's face, while the 1K and a smaller light remained on the ceiling. A black net was used to cut down the punchiness of the HMI on the actress's back in the foreground, as it was full white and overexposed without the net in place.
4
I was troubled when I came to this scene initially. I was tired of seeing two shots with flat lighting, and I wanted to hint at the darker mood that the script turns to towards the last half. I couldn't fit any lights into the tiny little kitchen, and the camera and crew was in the living room shooting into the kitchen. The two rooms were separated by a 4" thick 1' high divider hanging from the ceiling. I set an HMI on the living room side and angled it just barely above the actor's heads. I shot this into the ceiling and far wall, which acted as a giant soft source to light the actors. It turned out pretty well, too!
I hope this has helped someone! Once I get more time I can try doing some more from a different film I worked on
