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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 :)

Post Your Lighting Set Ups...

This thread is great and really helpful as I think its easy to get set in your ways with how you light - refreshing to see so many different setups.

Stephen I had a little look on your blog and wanted to thank you for the detail you put into your posts about lighting, I found the Micheal Kiwanuka post really helpful as I am about to approach a similar job.
 
This thread looks exciting! I've been getting sort of more interested in lighting so its great to see real implementations instead of just reading about styles or guessing while watching a film. I'm surprised to see allot of high frame rate footage like 48 and 96fps....just curious for the guys doing 48/96fps, are you doing like a cooking show or is it going towards a film? I find it interesting that your shooting at 96fps for that, I guess its quite nice to see knives and fruit and vegetables clear cut though, I think 120 would be the sweet spot (for NTSC and 24p).
 
Guy Staley said:
Thanks for the share. The Phantom footage looks amazing!
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Thanks! I don't know if anyone reads the damn thing. I swear I have only ten followers and one is probably my grandma, but I love writing about my shoots and just digesting the experience, so it's more for my own good, but I try to make them readable to colleagues!
 
Ok.

Bringing this thread back from the dead.

I've uploaded a post with 3 diagrams over at my website.

Check it out if interested:
http://ow.ly/t5Z0q
12207447676_98bb8e98a3_h.jpg
 
Great post Patrick!

I recently started incorporating haze/fog on set and it definelty adds that "analog feel" you mention in your post.

Here's a promo I did for NYC's biggest nightclub, WEBSTER HALL.

The interior scenes were all shots with just (1) 4-Bank Diva Light, with some diffusion and some black sheets to control the spill of the light.

And then we just had some 50w bulbs in the lamps on the tables that created a nice backlight for some shots. Add some smoke and that's it!

Here's the final result along with (2) BTS photos I found.

https://vimeo.com/78135373
 

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Haha! That was great. Did you do anything to light the exterior shots? Haze is great for making a room seem smokey or humid which can help set the mood. This was the perfect job for a little haze.
 
Savva thanks for sharing that ;)
 
Logan Smith said:
Did you do anything to light the exterior shots?
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Glad you enjoyed it. The exterior shots at Webster hall we only used a 1x1 Litepanel, running off a battery. used it as a kicker for the close-up of the guy entering the club, and a kicker on the close up of the girls staring him down.

It was a busy night for the club, so we only had a few moments where we'd run, set up the light, and shoot. If only we had more control over the location we could have brought it out more.
 
Just posted another lighting breakdown on a recent short film I shot with my Epic and Lomo Anamorphics.

I will be posting a few of the set ups we shot over the next few weeks. The first one is a small intimate bathroom scene that posed quite a few issues for us.

Check out the full read here: http://presynkt.com/?p=481

PE_Web_Example_1-1024x418.jpg
 
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Patrick O'Sullivan said:
Just posted another lighting breakdown on a recent short film I shot with my Epic and Lomo Anamorphics.

I will be posting a few of the set ups we shot over the next few weeks. The first one is a small intimate bathroom scene that posed quite a few issues for us.

Check out the full read here: http://presynkt.com/?p=481

PE_Web_Example_1-1024x418.jpg
Click to expand...

Nice job Patrick.
 
Yep keep posting these Patrick, Im learning so much :)
 
I've been sending your web link to all my colleagues.

Love your site :)
 
Posted this in the reflected light forum, but I'll post here it as well.

In my opinion, reflected light is some of the best lighting techniques you can master, which I'm far from mastering. Shots below are from a recent feature I DP'd as well as a lifestyle campaign.

Reflected sun light using mirrors. Backed off quite a bit so it became a softer source/fill. There were skylights in the kitchen which we put opal over to soften it up quite a bit from being overly top-lit. 4 total mirrors used. So the sun was bounced twice from each source. The mirror off to camera right was closer. Rim (camera left) shooting through backyard door was way far away to soften it up.




8x8 Foam Core off to camera right bouncing the sun from an overcast sky.



Camera left Kino 4 foot bank (4 daylight tubes lit & gelled CTO to get blueish hue) shot into foam core for soft moonlight. Camera right tungsten practical placed high up to provide fill.



Sunlight used as key rim, mirror bounced for fill.



Sunlight used as rim, 8x8 foam core used as bounce/fill.





2 1.2K HMI's Reflected off of 12x Ultra-Bounce (camera right) along with a Kino 4 foot (2 banks lit), camera left/back a bit for fill


2 1.2k HMI's Reflected off of a 12x Ultra-Bounce shooting through the windows. 8x8 foam core and tungsten practical for fill camera right





2 1.2K HMI's reflected off mirrors shot through windows for each actors key, 2K tungsten gelled CTB for back room fill. Went for warmer kelvin temp


Arri 2k Open faced up on church balcony gelled CTB, shot off 8x8 foam core. Candles back behind camera for fill.
 
Kino Flo 4-bank (all lit) above as a hair light/ Fill .
Tungsten practicals for keylight and mood (supplemented by a 1x1 600 Led daylight balanced panel off camera right , in front of her for fill on the face). 1x1 600 LED daylight balanced slightly above the ground off camera left for a bit of rim and texture. (In hindsight I should have moved it another foot or so off camera to alleviate the fall off a bit.)

It's a clip from a short fashion spot that I shot last month which can seen here [ 2 Clips NSFW ] : https://www.behance.net/gallery/20143675/Avidity-2014

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