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Lighting Control vs Lighting Fixtures
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I so glad this thread has taken off.
I often work with students and it seems that many are not thinking about using scrims and the like that might come in their kits. Most often Lowel 3 or 4 light kits, but without all the suggested accessories. Imagine shooting without scrims, gel frames, etc…. So this is why I suggest that light control devices are another solution. The students seem to know about scrim kits and the occasional 36″ silver/gold collapsable reflector.
I just wrapped on a student project shot below deck on the USS Salem in Quincy, MA. Picture 6-7′ ceilings and all sorts of stuff hanging lower than ceiling height. one Tota omni light or maybe two. No soft box, no hair light, no flags, one reflector… They did have some gel sheets… you get the idea.
On the second day of shooting I brought my 18″ x 24″ Flag Kit and some 20″ C-Stands with grip arms, and a Rifa 66 soft box w/ Lowel Pro light and some gel frames/gel.
What a difference having these few accessories made in shot lighting and shaping of the available lighting.
Thanks for all the insights… I hope the students out there are reading.
Namaste,
Jon Frost
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Rick:
Most of the projects I work on are the no/lo/deferred student projects where any and sometime all the budget is spent renting a RED camera system and maybe not even having 2 HDD backup of the footage…
Some projects are equipped by the school or college/university program, and the students have to come up with an equipment list and often don’t get everything on their list due to the number of students shooting at the same time.
I am primarily providing location audio and possibly media wrangling/DIT. Since I have a full HD production system that I rent, I can fit some small amount of G&E in my car. Often the students are so happy that they come up with some cash to cover the extra gear since it adds immensely to their production quality.
Jon
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Approx. $900-$1,500
On lighting alone, $500-$700.
Will (3) flood lights to light up the white-screen, (2) soft boxes for Key/fill lighting, and a foam board reflector give me the quality i’m searching for?
Please give me all the advice, knowledge, and recommendations you have. Thanks, I want tis done correctly.
Any links to brands and websites would be great also-S.B.
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Approx. $900-$1,500
On lighting alone, $500-$700.
Will (3) kino lights to light up the white-screen, (1) kino for Key lighting
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Jon, sounds like your students are extremely lucky to have your support! My budget question was for S.B.
S.B. I think the answers are in my original reply to your query. Two or 4 “flood” lights for the background – an equal number for each side. Maybe get 4 totas, and end up using either 2 or 4, depending on the spread you need. You might end up with one on each side, one above and one from the floor — or just two altogether. A soft key, such as a 1K through both 4×4 opal and 6×6 1/2 grid cloth, a small raking light such as the pro light, and/or a small back light dosed so that you’d miss it if it were not there but don’t really see it. For fill, use the foamcore to bounce part of the key. 3-6 c-stands as mentioned with sets of singles and doubles. Get at least one sand bag for each c-stand. Wire scrims as well for the key and back lights.
Camera: If you can, rent an Alexa. Next step down, a Red. Or, An F3 or c300. Sticks. Audio.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
Thanks for your help Mr. Wise. I will for sure sned you a link of the final production once done.
CHEERS!
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Rick, I probably know this by another name, but what do you mean when you call it a “scratch light”?
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Mark, a raking light, usually placed on the fill-side of the face but sometimes on the key and even sometimes on both sides. It kisses part of the cheek, creating a highlight. Usually the light is placed at the same height as the head and carefully placed to add a sort of side rim.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
What size? 2 bulbs? 4 bulbs? 2′ or 4′? I’d get the larger size for all — you can always cut down the number of illuminated bulbs, but you can never boost the light of a small unit except by moving it closer, which creates its own problems.
In general, you still need a fill light (use a 4×4 foamcore held by a c-stand). You also need lighting controls — those c-stands, scrims. You still need a small back light — could be a small 2-bulb 2’kino flown into place at the end of a c-stand. You may well want some diffusion for the key kino. You might want some light (1/8) CTO or CTB for the back light, depending on hair color.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com
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