Gregor Hagey
Well-known member
lighting
lighting
Thanks Valde.
I don't know if this is the best thread to discuss the techniques of posted footage, but I will say that it's important to understand a little bit of the science behind colour temperature to really make strides in your lighting technique.
In a very small nutshell here it is: Light either appears neutral (no caste) or it has a warm/amber hue vs. cool/blue hue. Tungsten lighting is warm whereas daylight is cool. If you are white balanced to daylight it will appear neutral and tungsten will appear orange. If you are white balanced to tungsten it will appear neutral and daylight will appear blue. You can also white balance somewhere in between so tungsten sources are a little warm and daylight sources are a little cool. Filters can be used on the camera or lights to change the colour temperature if white balancing isn't appropriate.
There is also a subset of colour temperature to be aware of which is magenta vs. green (ie. fluorescent tubes). For example cool daylight balanced HMI's or fluorescents can have a green or magenta cast to them. I try to avoid this cast by either white balancing the camera or filtering the lights (unless I'm going for a gritty or stylized realist look). I would recommend searching the web for more info or picking up a copy of the Set Lighting Technician's Handbook to get a bit more depth on colour temperature.
What I did specifically for the shot of Barb onstage was to hang a Diva 400 above her with half tungsten and half daylight tubes and a flozier. Her backlight was 2 1k parcans with double Full CTB gel. The rest of the stage was lit with 2 other 1k parcans with medium red gel. I used lots of smoke on set and didn't shade the lens from the backlights in order to get as much flare as possible and creat a dreamy quality to the shot (along with shooting at 48fps). The Red was set to tungsten balance and 320 ISO.
The alley shot had Barb lit with a handheld Diva400 on a grip arm bulbed tungsten with Full CTO and the flozier. She was kicked with a 2k fresnel with Full CTO and the alley was kicked with a 1200HMI. When she bumps into her stalker she is side lit by a 575HMI.
If this is a bit too techno-babble I would suggest a cinematography basics thread or forum. Actually the one on CML is worth checking out.
lighting
Thanks Valde.
I don't know if this is the best thread to discuss the techniques of posted footage, but I will say that it's important to understand a little bit of the science behind colour temperature to really make strides in your lighting technique.
In a very small nutshell here it is: Light either appears neutral (no caste) or it has a warm/amber hue vs. cool/blue hue. Tungsten lighting is warm whereas daylight is cool. If you are white balanced to daylight it will appear neutral and tungsten will appear orange. If you are white balanced to tungsten it will appear neutral and daylight will appear blue. You can also white balance somewhere in between so tungsten sources are a little warm and daylight sources are a little cool. Filters can be used on the camera or lights to change the colour temperature if white balancing isn't appropriate.
There is also a subset of colour temperature to be aware of which is magenta vs. green (ie. fluorescent tubes). For example cool daylight balanced HMI's or fluorescents can have a green or magenta cast to them. I try to avoid this cast by either white balancing the camera or filtering the lights (unless I'm going for a gritty or stylized realist look). I would recommend searching the web for more info or picking up a copy of the Set Lighting Technician's Handbook to get a bit more depth on colour temperature.
What I did specifically for the shot of Barb onstage was to hang a Diva 400 above her with half tungsten and half daylight tubes and a flozier. Her backlight was 2 1k parcans with double Full CTB gel. The rest of the stage was lit with 2 other 1k parcans with medium red gel. I used lots of smoke on set and didn't shade the lens from the backlights in order to get as much flare as possible and creat a dreamy quality to the shot (along with shooting at 48fps). The Red was set to tungsten balance and 320 ISO.
The alley shot had Barb lit with a handheld Diva400 on a grip arm bulbed tungsten with Full CTO and the flozier. She was kicked with a 2k fresnel with Full CTO and the alley was kicked with a 1200HMI. When she bumps into her stalker she is side lit by a 575HMI.
If this is a bit too techno-babble I would suggest a cinematography basics thread or forum. Actually the one on CML is worth checking out.