Rick Wise
1
COW Coin
Forum Replies Created
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At this point, enough with the theory. Time to get hands on, on site. I think you stated that you do have access to the site for a good long time to light it. All you need is a minimum of three stand-ins to start setting lights. You seem to have a decent arsenal to play with. Work your way through. From now on you need to look, think, see, adjust, etc., all that stuff we do.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
Sounds like you will have a dark blue background, not black.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
What are the dimensions? The scale note doesn’t really help us. What this plan reveals is your chorus is on 3 sets of risers. Also that it should appear as if the candles are lighting the chorus. I am presuming you have a way to rig the DeSistis from overhead, dropping them to the “correct” height.
Basically you want to rig those front lights so they are the same distance from the people on the top riser as from the bottom. Probably about 45º at the “right” distance. Something like this crude drawing, where each arm of the triangle is the same length:
As for the DeSistis, I don’t know squat about them, but I presume they are photographically as good as the Kinos. You will want 4-banks to get enough exposure at that distance. An arc of fire that mimics the arc of the choir.
The floor plan shows candelabras in the background. If you want black limbo, you would want to remove them.
I’d also add an arc of back lights which will only really work well for the top row of singers, though with judicious spacing it may also have some effect down below. Your choice as to how much intensity you want here. It will help if the choir is not wearing black, but you will have to make whatever they wear work.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
Your floor plan is not visible. But no matter. The inverse square law is once again your friend. Since you have a choir, a bank of Kinos with egg crates or the like about 45º above them and pointed down at their faces about 3-4 feet above their heads should give you soft, even lighting. Then either another bank of the same as back lights, or some other units.
All that should leave the background in limbo, and your singing faces happy.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
One of the methods we’ve used is to spray the bulb facing toward the camera with black or dark brown streaks and tips. Later it wipes off. Combined with a dimmer you have lots of control.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
Ha! I did some digging as well, but got nowhere. Bravo to you!
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
I agree with Todd about the mystery of his shadow. The shadow really only shows when under his main body/feet. The arms make almost no shadow at all. I suspect a soft light coming through a circular gobo, both of which are not far above his head, but far enough so that there is not a huge drop-off of intensity between his shoulders and his thighs. In the wider shots the lighting rig is simply comped out. Note how from time to time there is a light lens flare.
Most likely shot on a real stage or location painted black all over. I am guessing the “smoke” effect is some NLE plug-in.
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
Ya do what you can!
Sooooooo true! Broad strokes first, then finesse the details until, “time’s up!”
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
Nice work! One thought: I’ve found that bald and semi-bald guys really can’t handle much back light. A large, soft one scrimmed way down seems to take off the curse of that shiny dome. I know: I have one. (With some good grip work it’s possible to treat the dome and the shoulders separately.)
Rick Wise
Cinematographer
San Francisco Bay Area
https://www.RickWiseDP.com -
