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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

How do you achieve this look?

David mullen was kind enough to answer this question on another forum site. He thinks they were achieved with cool whites and 3200k on camera. Could it realy have been that simple?
 
You could also gel any lamp to get that cyan color, especially if the fixtures are not in the shot. Overhead Cool White fluorescents are the simplest way of getting the color in a diner location like that, assuming the camera is balanced for tungsten, not daylight, since Cool Whites are around 4800K plus green.

Here's a frame from something I shot using Cool White tubes (plus the small tungsten desk lamp) on tungsten-balanced film stock:
assassination19.jpg


By the way, I'm just making an educated guess as to how that video was lit, I don't know for sure.
 
Of course to really discuss the lighting in the Space Bound video, you really need to talk at least about each scene, if not each shot... There are different tools and approaches used for each environment. I'm not going to say in general it was all overhead kinos. It wasn't. Even trying to break down the night exteriors, each location used a different approach. The mountain side road, which was shot in a real torrential downpour, was not the same as shooting the diner set placed in a motel lot in a remote town a hour north of LA.

Yes I shot the video on a Red One MX. The diner interior was shot with the camera set at around 4500k with a 1/4 CTB on the camera and Hawk V series Anamorphics. The scene used a variety of sources and colors. There ARE overhead kinos rigged into the center ceiling structure of the diner. Those were 4-bank 8' fixtures with daylight tubes, and gelled with half CTB, half Plus Green, and 216. Additionally, there are dimmed tungsten wall sconces, some Dedolight backlights gelled with half CTB and inside the grilled area,and some tungsten Kino tubes gelled with full CTO. So color temperatures ran the gamut! Smoke played an important part of the look of the video as well...
 
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Thank you Cristopher. Appreciate you sharing your techniques with me (and the others on this forum) One very last question. For the Lady GaGa video Love Game you shot. How was that lit? The lighting so illuminous.

again thanks for everything
 
No. It could be lit with bounced hmi. Or possibly diffused kinos. Theres so many different ways it could have been lit
 
The wide shot is lit with a combination of some bounced toplight on the cement ceiling of the location and then an armed in Wall-O-Lite to model light onto Gaga. The closer shot has that same lighting, but the Wall-O-Light is lowered down a bit to get more into her eyes, is further softened closer to her and then a little bit of a bounce fill is added.
 
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