Django, Inglourious and Pulp Fiction signature lighting effect?

[David Mullen ASC]

Take a look at Stephen Murphy's new document of Richardson:
http://www.stephen-murphy.com/dop-documents/

 

[David Battistella]

Well,

that at entire page is just inspiring. Let alone the RR book.

 

[Patrick Tresch]

Thanks for the link David.

 

[Adam Carboni]

Great link. Just skimming that document you can see Richardson's style shine. (literally, shine.) So bold.

Another example of his signature "hot spot" on last year's Jeter commercial he shot.



https://vimeo.com/101634531

 

[David Battistella]

Yes.

Before there were power windows there was power lighting. I can see this exact style in many paintings. I think many of the styles we revere come from the visual literacy we share (consciously or unconsciously) from the past masters. Nice. IE Carravaggio, toppy almost backlight with a central figure and most of the rest falling off to clean blacks.

Great link. Just skimming that document you can see Richardson's style shine. (literally, shine.) So bold.

Another example of his signature "hot spot" on last year's Jeter commercial he shot.



https://vimeo.com/101634531

 

[Scott Welsch]

Par cans take par64 globes. They come in flood, medium and spot (also VNSP, very narrow spot if memory recalls). You change the bulb to change the beam angle. Lights with multiple banks of bulbs arranged in a grid are generally called maxi brutes.

Par cans -

http://www.ebay.com/itm/Stage-Light...358?pt=LH_DefaultDomain_0&hash=item20fe817c86

Par bulbs -
http://www.ebay.com/itm/FFP-1000W-P...142?pt=LH_DefaultDomain_0&hash=item43d1ed5676

http://www.ebay.com/itm/Wide-Flood-...740?pt=LH_DefaultDomain_0&hash=item1ea13f37ec

Nick

I just bought http://www.ebay.com/itm/141736174939

What is the best way to make this daylight balanced instead of incandescent

 

[David Mullen ASC]

Most Parcans use PAR64 globes, you have to swap the whole globe out to get wide, medium, spot, and narrow spot, etc. configurations. Of course there are smaller Parcans that use globes like PAR36, etc.

 

[David Mullen ASC]

I just bought http://www.ebay.com/itm/141736174939

What is the best way to make this daylight balanced instead of incandescent

You'd have to use Full CTB gel on it to convert it to daylight.

However, you can use less blue correction if you are simulating a warmer beam of sunlight in a daylight interior.

 

[Scott Welsch]

Most Parcans use PAR64 globes, you have to swap the whole globe out to get wide, medium, spot, and narrow spot, etc. configurations. Of course there are smaller Parcans that use globes like PAR36, etc.

Thank you very much for helping me David! A friend of mine said to follow your work today, so that's awesome you're replying to this thread!

I bought the par56, I'll get a couple different bulbs to see how I can use and play with them.

 

[Josh Tyron]

Thanks you for this!

Take a look at Stephen Murphy's new document of Richardson:
http://www.stephen-murphy.com/dop-documents/

 

[Scott Welsch]

I bought a par can 56 with it's bulb, the only issue I am having is, I have no idea how to properly install the bulb and there are no instructions that came with it.

I connected the interior to the bulb and it looks "plugged in" but when I plug in the power nothing happens, there are no on/off switches either, anyone have any idea why this would be? I don't hear any rattling to indicate a broken bulb.

 

[David Mullen ASC]

Usually there is no switch in line, it just comes on when you plug it in. It's pretty basic wiring like any light bulb, but obviously something is wrong either in the wiring, the power cord, the connections, or the bulb.

I'd see if you can find an electrician to take a look, or take it to a lighting rental house and see if they can help you.

 

[Scott Welsch]

Usually there is no switch in line, it just comes on when you plug it in. It's pretty basic wiring like any light bulb, but obviously something is wrong either in the wiring, the power cord, the connections, or the bulb.

I'd see if you can find an electrician to take a look, or take it to a lighting rental house and see if they can help you.

David, I have found the issue! It was faulty wiring, I am requesting they send a light to me now, thanks for your help.

 

[David Battistella]

Any filtration here Scott? Promist or lo-con?

Also bounce under the camera that is not full white but maybe raw canvas might give that warmer, less harsh wrap around soft light. You are pretty close here though.

I'm sure david mullen will kick in with some other ideas as well.

 

[David Mullen ASC]

Since the bounce off of the table is what is lighting your face, if you want a softer light it has to be a bigger area being lit -- you can either use a less narrow spot light, or add an additional light for the table to create a larger bounce area, or conversely, put something dark in the center of the bounce on the table to reduce the hot spot, creating a dimmer bounce that may be a little less spotty. Also, if the table were lower / farther, then the spot would spread over it more, creating a bigger, softer, but dimmer bounce.

If you were working with a spotty light that had more spill / spread because it was a bigger bulb like a PAR 64, then more of the table would get some light and would soften the bounce, especially if your head was shadowing the hottest spot from the table.

Also, maybe your table surface is too shiny or white, it needs to be a duller, matte surface.

 

[David Battistella]

If you look at the shadow cast by the glass in the first image in the first post you can see that TOP and RIGHT there is a hard spot that might be hitting the front of the table. This wood table reflection might be giving that front warm color on the actors as well.

 

[David Mullen ASC]

If you look at the first frame for "Inglorious Basterds" that you posted, the faces are filled in with soft light from the left as well as the bounce off of the table so the contrast isn't as dramatic as your test.

But whenever you do this trick of using a harsh top backlight and just letting the bounce back fill in the faces, you have to be prepared for odd results, it is not an exact science -- so much depends on what the hot light is interacting with. Even the actor's movements will affect the look.

 

[Satsuki Murashige]

Covering the table surface with something like beached muslin will make the bounce more even. You could also take a large beadboard and place it on the table. If the beadboard surface is larger than the table, the bounce should be softer. I think the shadows look good as is though, very dramatic. Adding lens diffusion and maybe a little haze in the room would help finish off the Richardson effect.

 

[Scott Welsch]

It shows multiple lights in this scene, is it possible instead of a bounce he just lit the floor and it bounced from objects in the room?

http://vignette3.wikia.nocookie.net...enochet.jpg/revision/latest?cb=20130815103906

 

[Bob Gundu]

Even if you had the exact same lights, in the same locations, there are still so many variables that will make your shot look different. Like the best chefs, they don't follow a recipe but they understand the ingredients and make it their own.