The Before And After Lighting thread

[Grug]

Nice one Mark, they look great.

Attempt at guessing the lighting set up - fomex above table, blue/red gelled M9s, Area 48 for extra on the left in the wide?

Did you screen the window on the red side because you didn't like the exterior or was it for a reflection?

Excellent guesswork!

- Fomex boomed in above, and skirted to keep it off the window.
- Aputure M9s gelled on the table of extras to the right (to give her face a little something), and for the faint edge on the actor on the blue side.
- The red and blue washes are from a couple of gelled Dedolights (needed the precision to keep the colour washes on the walls but off the windows.

The trickiest part was that the director wanted a cold blue exterior, but it was raining and we had a tiny crew, so I couldn't pop lights out on the street to wash the buildings in blue. And the streetlights were a deep, orange sodium vapour, so I had to WB the camera as low as possible (I think 2500k) in order to push things outside as cold as they would go. But pushing the camera's WB so low, meant compensating for the key light with gels.

 

[rob norton]

Excellent guesswork!

- Fomex boomed in above, and skirted to keep it off the window.
- Aputure M9s gelled on the table of extras to the right (to give her face a little something), and for the faint edge on the actor on the blue side.
- The red and blue washes are from a couple of gelled Dedolights (needed the precision to keep the colour washes on the walls but off the windows.

The trickiest part was that the director wanted a cold blue exterior, but it was raining and we had a tiny crew, so I couldn't pop lights out on the street to wash the buildings in blue. And the streetlights were a deep, orange sodium vapour, so I had to WB the camera as low as possible (I think 2500k) in order to push things outside as cold as they would go. But pushing the camera's WB so low, meant compensating for the key light with gels.

Ahh not quite! I forgot the rule that dedos still get used on 100% of all short films. Thanks for the info, you came up with a good solution.

 

[puredrifting]

Excellent guesswork!

- Fomex boomed in above, and skirted to keep it off the window.
- Aputure M9s gelled on the table of extras to the right (to give her face a little something), and for the faint edge on the actor on the blue side.
- The red and blue washes are from a couple of gelled Dedolights (needed the precision to keep the colour washes on the walls but off the windows.

The trickiest part was that the director wanted a cold blue exterior, but it was raining and we had a tiny crew, so I couldn't pop lights out on the street to wash the buildings in blue. And the streetlights were a deep, orange sodium vapour, so I had to WB the camera as low as possible (I think 2500k) in order to push things outside as cold as they would go. But pushing the camera's WB so low, meant compensating for the key light with gels.

Great looking setup Mark! Is Fomex Australian for what we call foamcore here or is that what we call bead board?

 

[Grug]

Great looking setup Mark! Is Fomex Australian for what we call foamcore here or is that what we call bead board?

Thanks mate! Fomex is a Korean lighting company who do some really nice flexible LED panels and blanket lights. I have one of their FL1200 flex lights, which is a 2x1 with 120w of power (as opposed to the majority which seem to have 50w per square foot).

 

[puredrifting]

Thanks mate! Fomex is a Korean lighting company who do some really nice flexible LED panels and blanket lights. I have one of their FL1200 flex lights, which is a 2x1 with 120w of power (as opposed to the majority which seem to have 50w per square foot).

Ahh, got it, thanks for educating me, I haven't heard of them. I'll check 'em out

 

[Guest]

I think all of my before and afters would just look the same. Haha

Amazing work here! So cool to see!

 

[ReelWorksMedia]

How have I not seen this thread?!?!

Kinda my favorite post. Awesome examples in here.