Trying to achieve this look ( Music Video )

what specific part of the vid you talking about? the performance section is pretty easy. If i was Dping this:

Large Diffused source overhead (large silk with 1k/2k tungsten or large Florescent fixture like a couple 4 ft kinos. I'd add a 400diva or 650 tungsten(depending on what i want) with large diffusion flagged off to prevent light spill, just a bit off camera to the side for a bit of fill due to his hat. ( You dont HAVE to...but thats what i'd do) .Wet the ground and make sure not to blow out his face like in this vid.

1.2k hmi in the background gelled (if u want green) or you dont even have to gel that if your white balanced to tungsten which will yield a blue colour and more light output.

those 2 fixtures on the ground can be 2 1 ks gelled. Add smoke to the mix and your done.

And shoot on Neutral Dialed down and low ISO because of the amount of light you can get a nice clean image. shoot at 5.6 or for wides or even f8 ( may require more lighting) and 2.8/f4 split (yes even if you a faster lens) for close ups. You still get nice shallow DOF but with a sharper image. You should have enough light for you to shoot whatever stop you need to. Of course thats not always the case but if you have a budget that allows it then great. I dont want to be forced to shoot at an fstop.

Grade accordingly.


its actually similar to a look i may go for in an upcoming vid i may be doing. not sure as yet.
 
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jambredz said:
what specific part of the vid you talking about? the performance section is pretty easy. If i was Dping this:

Large Diffused source overhead (large silk with 1k/2k tungsten or large Florescent fixture like a couple 4 ft kinos. I'd add a 400diva or 650 tungsten(depending on what i want) with large diffusion flagged off to prevent light spill, just a bit off camera to the side for a bit of fill due to his hat. ( You dont HAVE to...but thats what i'd do) .Wet the ground and make sure not to blow out his face like in this vid.

1.2k hmi in the background gelled (if u want green) or you dont even have to gel that if your white balanced to tungsten which will yield a blue colour and more light output.

those 2 fixtures on the ground can be 2 1 ks gelled. Add smoke to the mix and your done.

And shoot on Neutral Dialed down and low ISO because of the amount of light you can get a nice clean image. shoot at 5.6 or for wides or even f8 ( may require more lighting) and 2.8/f4 split (yes even if you a faster lens) for close ups. You still get nice shallow DOF but with a sharper image. You should have enough light for you to shoot whatever stop you need to. Of course thats not always the case but if you have a budget that allows it then great. I dont want to be forced to shoot at an fstop.

Grade accordingly.


its actually similar to a look i may go for in an upcoming vid i may be doing. not sure as yet.
Click to expand...



Excellent post, also the crew is minimum since artists now want the "Big" look but the labels do not want to give huge budgets..... This is the reason I said , If I even achieve half of this I would be happy. The most important thing I want to do is lighting + shooting at f4-f8 as stated and maximum iso of 320. Obviously I would be renting the lights, so I just need to figure out how much I need (lighting wise).

As always this is a work in process, and my goal is not to get something exactly, but more so something similar working with a limited budget. As always thank you to the wonderful people on these forums that share their knowledge and time.

Thank you.
 
yeh the biggest thing would be to get proper exposure for the slowest aperture and keep the iso down. so if you know your gonna shoot at f8 for the wides and be at 320 your gonna have to figure out how much light u need . Not 2 sure how your gonna do that....but lighting should be that expensive to rent . alot is based on how large the location that your are shooting in is.

Also if you cant rig from above just use kinos on both sides of the camera ( or one side based on the look you want) and flag them to control the spill.
 
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! and 2K's are not even close to what this what lit with. Think 4K or larger HMI's and large (12X12?) diffusion.
 
phudsontx said:
! and 2K's are not even close to what this what lit with. Think 4K or larger HMI's and large (12X12?) diffusion.
Click to expand...

Are you talking about the overhead key light? I don't think it's larger than 4K, look at the following screencap:



You can see the source there at the top of the frame, and by the look of it that source could easily be a 2K shot through silk. The silk even looks too small to be a 4x4.
 
Finnegan said:
Are you talking about the overhead key light? I don't think it's larger than 4K, look at the following screencap:



You can see the source there at the top of the frame, and by the look of it that source could easily be a 2K shot through silk. The silk even looks too small to be a 4x4.
Click to expand...


Excellent eye. HMI lighting is well over the budget, so I want to know if I can achieve this with some Arri Tungsten lighting? I would probably have a couple of 1k and 650w. Even have some Led lighting that l always love to use for eye lighting. Get some different color gels and just have fun on the set.
 
jambredz said:
what specific part of the vid you talking about? the performance section is pretty easy. If i was Dping this:

Large Diffused source overhead (large silk with 1k/2k tungsten or large Florescent fixture like a couple 4 ft kinos. I'd add a 400diva or 650 tungsten(depending on what i want) with large diffusion flagged off to prevent light spill, just a bit off camera to the side for a bit of fill due to his hat. ( You dont HAVE to...but thats what i'd do) .Wet the ground and make sure not to blow out his face like in this vid.

1.2k hmi in the background gelled (if u want green) or you dont even have to gel that if your white balanced to tungsten which will yield a blue colour and more light output.

those 2 fixtures on the ground can be 2 1 ks gelled. Add smoke to the mix and your done.

And shoot on Neutral Dialed down and low ISO because of the amount of light you can get a nice clean image. shoot at 5.6 or for wides or even f8 ( may require more lighting) and 2.8/f4 split (yes even if you a faster lens) for close ups. You still get nice shallow DOF but with a sharper image. You should have enough light for you to shoot whatever stop you need to. Of course thats not always the case but if you have a budget that allows it then great. I dont want to be forced to shoot at an fstop.

Grade accordingly.


its actually similar to a look i may go for in an upcoming vid i may be doing. not sure as yet.
Click to expand...

What exactly do people mean by saying something like "2.8/f4 split"?
 
Finnegan said:
Are you talking about the overhead key light? I don't think it's larger than 4K, look at the following screencap:



You can see the source there at the top of the frame, and by the look of it that source could easily be a 2K shot through silk. The silk even looks too small to be a 4x4.
Click to expand...

In this set up... HMI through the door (1.2 minimum), two par cans on floor and at the very least a 4foot 4 bank Kino very high and 45 degrees to the left of the talent.
 
Vision_filmz your sure a 1.2 hmi is out of the budget? that would really help. failing that what i'd say to you is use Kinos ( diva 400 or 4ft bank) overhead and to off axis to the camera and use a 2k tungsten not gelled around the back to get the full light output of the 2k (gelling cuts your output). balance for the kinos and the tungsten will look orange like you gelled it. Use 2 tungsten of the floor or wherever you are thinking in the scene.
 
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jambredz said:
Vision_filmz your sure a 1.2 hmi is out of the budget? that would really help. failing that what i'd say to you is use Kinos ( diva 400 or 4ft bank) overhead and to off axis to the camera and use a 2k tungsten not gelled around the back to get the full light output of the 2k (gelling cuts your output). balance for the kinos and the tungsten will look orange like you gelled it. Use 2 tungsten of the floor or wherever you are thinking in the scene.
Click to expand...

1.2k Hmi lighting is well within the budget, Myself like you thought phudsontx meant I needed 4k HMI lights, which was over the budget. With the setup you just now said, it will definitely work....... THANKS!!!
 
If you aren't moving the camera much, you can achieve that look in post with After Effects by rotoscoping adjustment layers that emulate lighting, and tracking it into the shot. Combine that with some Action Essentials 2 and color grading, and you've there.

I wouldn't recommend it, though. Takes a long time, extremely tedious, and almost never as good as doing it on set. Especially if you want lights to be only in the background because then you have to roto everything in front of it. For really simple shots, it's doable though.

Am I the only one who thought the video was extremely overdone visually and not very appealing? I didn't like the grade nor the lighting color choices... it's just too much.
 
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HansSteinert said:
If you aren't moving the camera much, you can achieve that look in post with After Effects by rotoscoping adjustment layers that emulate lighting, and tracking it into the shot. Combine that with some Action Essentials 2 and color grading, and you've there.

I wouldn't recommend it, though. Takes a long time, extremely tedious, and almost never as good as doing it on set. Especially if you want lights to be only in the background because then you have to roto everything in front of it. For really simple shots, it's doable though.

Am I the only one who thought the video was extremely overdone visually and not very appealing? I didn't like the grade nor the lighting color choices... it's just too much.
Click to expand...


Thanks! The lighting was maybe overdone, but it was just an example of something I wanted to do "lighting" wise, or at least know how to do it. Personally everyone is entitled to their opinion & I thank you for commenting.
 
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