We didn't have a studio, so we used a small bedroom. The walls were all white which helped with bounce, but made decent contrast tough to achieve. By smashing a backlight from top right I at least had a strong edge separating the couple from the white background. I also let the top/back light flair the lens and in addition, had a broken glass filter in front of the lens which was being hit by a flashlight helping with extra flairs and adding to the mood :) You'll also notice that Olympia's face is being nicely illuminated by some bounce from Maurice's white singlet. All intentional of course ;)
Have you ever shot with RED? It's a noisy camera, and at 800ISO in low light, it's already noisy (come at me RED fanboys!!!) Crop in to 2K and the noise patterns are even bigger and more noticeable. So, a slower shutter (1/300th instead of 180 degrees) doubled my light intensity and gave the rain drops a longer length...win WIN! You can read in more detail about the shoot HERE :)
The shot below is basically the same lighting setup, but this was shot at 5K 60fps through my Nikkor 50 f1.4 at f2.
I recently purchased the very affordable "cine" lenses made by Samyang/Bower/Rokinon. I had read all the reviews I could find on-line, and nearly all of them said that these lenses weren't really useable wide-open. Please define "useable" hehe ;) Below are two videos that show what I did with them (the 16, 35 and 85) all wide open. They are amazing lenses, and very useable wide-open.
Both of the frames you see above I lit as per the lighting diagram below. I wanted to emulate moonlight and see if I could use a match as my only key-light source. Both videos are graded very differently. One, over-the-top saturated and the other quite the opposite :) The Hallway shots were lit virtually the same, one light outside the doorway, one inside adding a tiny glow to the hallway.
This location was so awesome. Picture a basement, hidden underneath a prestigious school on the top of a hill. Actually, this property was used in the original Mad Max too! Mad!
When we first recce'd the spot with Lucas, Julie and the crew, I instantly fell in love with the walls, but more so what I could do with the lighting. There were two windows that had light streaming down from above, hitting the floor. I knew exactly what to do. Smash some HMI's down through the windows and try to use that as my main light source. I did end up bouncing it off reflectors laying on the ground, for some extra kick. In hindsight, I think I needed stronger HMI's (2.5K's) but hey, the 1.2's did okay :) I wanted to keep the place kinda dark anyway and I think it worked well.
Here's the breakdown:
With a fairly simply grade, the shot really comes alive! See below for a before and after. I was also experimenting with grading the 1080p ProRes file, instead of the original 4K R3D, just to see how far it could be pushed. It's definitely not as easy, but with a little time, it's no problem :) I graded this in EDIUS 7 Pro using 3 way, Curves, and a window.
In this shot I was trying to stay true to the practicals in the room so as to match the accompanying wide shot. In this case, two bedside lamps, either side. The actual lamps either side were horrible! One was fluro and the other tungsten about 25watts, both shining through a green shade cloth....not very nice on the skin. I warmed up some 300w tungsten fresnels with a peach and straw plus some diffusion and got some pleasing results. If you read the accompanying blog post HERE, you'll learn more about the challenges I faced on this shoot.
Here's a fairly simple set up (although enhanced in post) which I think worked quite well. Macro shots aren't always easy, mostly because of the super shallow depth of field, but also because it can be tough to get light into that tight space! Having the camera and lens so close to a subject makes it awkward.
I stopped my iris down to f3.5 to give a me little more than razor thin DOF (f2.8 that close is RAZOR thin). The 1000 led (daylight balanced) LED's I purchased from ebay recently (check this guy out, these lights are awesome!) are a joy to use and have amazing output and quality. They are my new Kinos!
For this shot I placed both lights either side of my subject and added some soft fill (and a subtle reflection) from a white bounce board.
NAB 2013 was an amazing experience for me! I was flown to Vegas and worked with Atomos, helping them on their booth with color grading presentations. I talked about 10-bit colour spaces, compression and why they matter. I also demo'd some grading examples in EDIUS and DaVinci and received great feedback from the attendees :) It was an awesome week! So many new advancements for the film-maker - the most exciting developments for me being LED lighting. The future is bright!
As I stepped off my 15hr flight back home in Australia, I drove straight to a shoot for Luke Launer as DP for his new film "The Snap Factory". No shower, no nothing. I was wired!! We shot into the early morning and suffice to say, I was exhausted the next day, but really happy with some of the shots I got that night. Below is one of my favorites......
This scene is where our protagonist finds a friend in his dark and gritty cell of The Snap Factory. Luke wanted a black void to surround the actors which meant I had to be careful with light bouncing onto walls, etc.
The scarlet holds up well at 800 ISO, as long as you give your subject enough light. I always take a look at my "RAW" exposure to check what is really going on, and then tweak my lighting accordingly. As you can see on the histogram, the image should be filled with noise and is super under-exposed. I've learned not to trust my histogram and use "RAW" as my exposure guide, judging the image by eye. It's working a treat!
The low wattage tungsten Fresnels (150w dimmable) are some of my favorite lights in a kit. They are so tiny and easy to use, perfect for hair lights and selective lighting. One of them I used as a hair/back light which was aimed from up high, pointed down, directly at the back of my subject. The second 150w was set to spot and pointed at the ground just in front of the actor to bounce some fill into his face. The diffused LED was on the ground pointing up and dimmed to taste for some extra fill and eye ping ;) I'm really happy with the results. Here's the reversal:
For more shots from this shoot, check out my blog post here :)
Here's a simple lighting setup I put to great effect using 2 x 2K blondies and a reflector. These lights can be hired for about $40/day. I probably could have done this with only one of the lights, but what the hell, I had two of them so I put them to use (notice the little pocket of light hitting the drink bottle). Looking back now, I should have shifter the reflector to fill her face a little more, but, with a strong grade, it didn't matter too much in the end. (here is a higher res/less compressed version to pick on)
Here's a BTS of the setup. I would have liked NOT to include the power outlet on the top right, but time was pressure and we just left it as is. I personally hate it!
Thanks to prefacefilms for the opportunity and for letting me use these grabs :) Also, a big thanks to Kylie Lyons (athlete) for being a joy to work with.
A couple of months ago I was on a plane watching "No Country For Old Men" for the first time. The audio was terrible through those headphones and the highly compressed, 4:3 image in front of me was pretty hard to watch...but, I was glued the whole time. I recently hired it and watched it again at home and enjoyed it even more. It's easily in my top 5 favorite films. Roger Deakins, the Coen Brothers and their amazing cast and crew have created a masterpiece! Whenever I watch films these days, it's actually difficult for me to switch off my analytical mind and just enjoy the story....cinema's help, but I'm always wondering..."how the heck did they light that?". The beauty of watching a DVD or Bluray is that often they come bundled with behind the scenes footage, which can sometimes give you a glimpse into the magic that goes into lighting a Hollywood feature film. "No Country for Old Men" has some great special features but sadly, there is ZERO content regarding Mr. Deakins and his work. There are however, some 2 second shots that reveal enough...if you look carefully and are quick with the pause button hehe :)
One thing I noticed, or at least think I have, is that many of the shots were lit with one MASSIVE soft light source (amongst other lights). I managed to pause the making of one shot (the hand-cuff strangle 00:45), and I saw what appeared to be a high intensity tungsten light behind thrown into a corner, which was then diffused by a huge bed sheet. The setup looked DIY but the results looked amazing...this got me thinking. The next day I drove to my local hardware store and purchased 2 x double 500w "workers lights". That equates to 1000Watts of light for $50. Pretty good deal! Next up I drove to the super-market and got 30meters of silver foil for $5. I then drove to a HiFi shop, parked out the back and went through their trash looking for a large flat box from an LCD TV....got one :)
Behold....THE MOTHER REFLECTOR!!
"The Mother Reflector" is something I've been meaning to make for a while now....so awesome and so cheap. It even folds up to fit in the car! I'll be using this a lot, especially out doors. But anyway, for this experiment I was using it as my reflective "wall" to bounce my worker's lights off. From there, even though the bounced light was already soft, I had to soften it even more and disperse its intensity. A bed sheet did the trick nicely :)
So, as you can see, my experiment looks NOTHING like No Country For Old Men hehe ;) But the idea of creating your own beauty light/massive soft source, is quite simple! A gentle back light slightly camera-left and some soft fill from a reflector on the same side to even out the face is all it took finish it off! The reflector also adds some nice catch lights for the eyes. See below for a detailed diagram :)
It's one thing to have ideas but it's another thing to have someone who is willing to participate and help you bring those ideas to life. My girlfriend, Laura McCann
is the most beautiful person I've ever met. Her warmth, massive heart
and caring nature FAR outweigh the beauty you see here, but damn, she's
HOT too hehe :) She's also the best model I've ever worked with. Who's
the luckiest guy on earth? I am.
Here's another shot where I let the spill of the lights hit the back wall (sans black sheet)...same setup, but TOTALLY different look. I love them both :)
Our soon to be launched production company HEIST Films (soon!) was recently approached and asked if we would be interested in producing a music video for singer/song writer, Paul McSherry, entitled "All The Mountains". Below are some lighting setups from day one.
We didn't have a huge budget for lights so we opted to shoot tungsten. It was difficult too because we had a lot of windows that were allowing daylight to enter the premises and it wasn't the sort of place we could black the windows or really alter in any way. We also own a few LED panels that are colour temperature adjustable, but they're no match for the sun. This meant that we had to change a few shots but all in all, it worked out well :)
SHOT 1 >>
We had to change this shot from what was originally scripted because of the strong daylight source behind our actor. With no HMI's and no lights to match that sort of power we decided to shoot profile instead of font-on. To balance exposure on his face, I used a reflector and an LED set to 5600K. I had these placed high to help shape his face and add shadow under his chin. Reflectors are THE most versatile and useful lighting tool ever! And so cheap! Also, the room he was entering (to the left of frame) needed to be lit. I just set up two LED panels at 5600K, again to match the colour temp of the sun. I pointed them at the wall and bookshelf and dimmed them a few notches so as not to draw too much attention and maintain a nice contrast. Below is a diagram that will give you a clearer picture.
SHOT 2 >>
By pointing the 2K at the wall I created a soft light that spilled everywhere. I wanted our actress to look warm and soft so this was a good start. We had no scrims or really any extra rigging for diffusing so bouncing off the walls was a good compromise. I then had to give her face some shape. I also wanted to place some emphasis on her hair. A high, softened LED panel was placed camera left as a side/hair light and you can see it working well there. Her hair and right shoulder are glowing at least a stop hotter than her opposite side which gave her some nice shape and helped separate her from the wall. I then filled her left side (camera right) with a smaller LED. This also gave her necklace an extra kick. Notice the colour temp of this was set closer to tungsten than the back-light? I played with these because I didn't want her hair to appear TOO yellow, and wanted her skin to be more neutral. If I had all lights balanced to 3200K, it would have been a yellow mess. Splitting the colour temps also helped separate her from the tungsten lit wall. Different skin tones show up differently on camera. Don't be afraid to adjust the temperature of your lights to compensate, even in a tungsten environment. Below is a diagram that will give you a clearer picture.
SHOT 3 >>
I lit this shot similarly to the previous shot but this time I took away the diffused wall bouncer. I wanted the man to be lit much harsher. I also took off any diffusion from the LED's. The streaming back light from the 2K (although subtle) was a nice way to light the archway behind him and help with a small rim behind his left ear. Once again, playing with the colour temp of my LED's to get the skin tone I wanted. Below is a diagram that will give you a clearer picture.
I hope this helps you with your next shoot! I'm always experimenting with lighting and I learn a lot from every shoot. Although shooting in available light is a great skill to have, lighting your own environments exactly the way you want, is very rewarding. Get out there, experiment and create your own style! Thanks for visiting :)
The lighting illustration icons used here were designed by Kevin Kertz. He was kind enough to allow me to use them to help demonstrate my setups. Thanks Kevin!