Thread: Lighting a small intimate space -- ideas?

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  1. #1 Lighting a small intimate space -- ideas? 
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    Hey everyone, I'll be shooting a small little live music performance for a friend in a few weeks and am looking for some new lighting ideas for this kind of situation.

    Our client wants it to look moody and intimate (it will be graded in B&W). I convinced him to let me actually light it and take care of the darkness/mood in the grade, which is true as long as I take care of my contrast ratios.

    This is a small room (think an apartment living room) and the space is a corner of the room. One wall is white, the other is a sort of reddish-brown:
    thumbnail_1.jpg
    A view from the chair:
    thumbnail_5.jpg

    My friend who is kinda producing for the client suggested just putting a spot in the corner and shooting it at him, but I'd like to get closer to the client's goal of it being moodier.

    I read that as higher contrast. I am going to put up a backlight where the lamp is, up high, to separate him from the wall a bit (I wish he wasn't so cramped in the corner). I was thinking about shooting a bounce below his face to have some low angle light (to complement the existing lights). One of my main concerns is just making sure there's always an eyelight, and a lot of the performers are folk singers and will be sitting down, so a lot of downturned eyes, haha.

    Gonna be shooting on both my Ursa Mini Pro and P4K.

    EDIT: If it helps, I have an Aputure 300d and 2x 120d COB lights, as well as some smaller LEDs (3x smaller LEDs). So lighting power is not a problem--I'm mostly worried about overlighting it at this point.
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  2. #2  
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    If you have fresnel attachment, you can spot down And create a bounced back light if you don't have enough room to rig a light where you want It.
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  3. #3  
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    Quote Originally Posted by dop16mm View Post
    If you have fresnel attachment, you can spot down And create a bounced back light if you don't have enough room to rig a light where you want It.
    Thanks! I have two Aputure AL-F7s which should be enough to separate him a bit, just worried about that light getting drown out by the keys. I may end up trying the bounce you mentioned.

    I'll post some grabs after it's done.
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  4. #4  
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    Don't be afraid to dim if needed. You'll want separation from the background, shadow. A strong hair light, 3/4 back light that is stronger than the key/ fill goes a long way. You always run the risk of looking fake, or creating a flat over lit environment. Takes practice. With sensitive cameras it is rare to need to light to get an exposure if some practicals are on, lighting to make things look good still takes some work.
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  5. #5  
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    You can hide these pretty much anywhere under cloths to get a soft fill. They are not strong enough to seem unnatural but give what you need to get you where you need to go. They come in a couple of sizes.

    https://www.homedepot.com/p/Brillian...-301839113-_-N
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  6. #6  
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    Quote Originally Posted by Marckusw View Post
    You can hide these pretty much anywhere under cloths to get a soft fill. They are not strong enough to seem unnatural but give what you need to get you where you need to go. They come in a couple of sizes.

    https://www.homedepot.com/p/Brillian...-301839113-_-N
    I used them a few times. They are very handy to have a bunch in your lighting bag.
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  7. #7  
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    Quote Originally Posted by Marckusw View Post
    You can hide these pretty much anywhere under cloths to get a soft fill. They are not strong enough to seem unnatural but give what you need to get you where you need to go. They come in a couple of sizes.

    https://www.homedepot.com/p/Brillian...-301839113-_-N
    Those look cool, I'll have to grab some, do you just stick them up with rolled gaffer tape? I don't think you'd want to use the double sided that comes with them. I've also started to collect off the shelf led bulbs for practicals and improvised fixtures. You have to test them as they don't all have high cri that we are used to in film lights, but some are decent. I'm finding 3000k ones tend to have pleasant skin tones and are what we're used to seeing in lamps at night. Daylight are all over the map some green some magenta, haven't found any I really like yet.
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  8. #8  
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    Light colored walls create their own fill, flattening out the contrast. Think about "negative fill". He's the depressing guy in the corner. Black poster board, black cloth, black foam core are always in use on film sets to SUBTRACT light from the the shadow side of a face, especially in closeups. I also really like softboxes with egg crate grids. They are still soft and moody, but the light pool is concentrated in a smaller area, and there's less spill on surrounding surfaces, so less uncontrolled fill. I have 2 small Chimera soft boxes on 1x1 LED panels. Light the room, with practicals, and a little bounce if needed. Stop down 3 stops so the room looks darker. Position the talent, and hit from the side with the egg crated light. Dial up the LED until the face looks right. Be sure you don't underexpose the room or it will get noisy. When its time for the color pass, work the gamma to the low side to make it darker if you need to.
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  9. #9  
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    You can hide these pretty much anywhere under cloths to get a soft fill
    Be careful with cheap LED lights, they flicker if dimmed. The Ursa Mini Pro has shutter speeds that are tailored to eliminate the pulsing, but you need a good monitor to see it and experiment with different shutter speeds until it goes away.
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