Thread: Lighting at night (outdoor)

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  1. #11  
    Senior Member david evans's Avatar
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    Today I went to the location and did some screen tests with different lenses (without any artificial lighting). I measured the overall color temperature at 2500k.

    Here are some stills:


    Tokina 28-70 @ f2.6:

    https://s-media-cache-ak0.pinimg.com...0cf6fefb98.jpg
    https://s-media-cache-ak0.pinimg.com...c23b4b52ec.jpg

    Zeiss Planar 50mm @ f2:

    https://s-media-cache-ak0.pinimg.com...24c5956a08.jpg
    https://s-media-cache-ak0.pinimg.com...55f6aeaae9.jpg

    Sigma 18-35 @ f1.8:

    https://s-media-cache-ak0.pinimg.com...1bd4436f42.jpg


    This was done without any artificial lighting. Next week I'll be shooting here and I will take some Led lights with me. How would you guys set your lights in this kind of scenario?

    Cheers!
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  2. #12  
    Senior Member david evans's Avatar
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    Yesterday I did the actual shoot. Took some Rotolights anova Pro and loved them. These are not properly graded yet as both still need to be matched and color tweaked, but I like them:



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  3. #13  
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    [QUOTE= Here's a still that exemplifies the kind of lighting I'm after (look at Samuel L JAckson):[/QUOTE]

    Probably lit overall with existing sodium vapor lights. Tungsten spot or par, camera right, raking wall behind them to bring lit section of wall up above ambient light. Tungsten soft box, camera right, directed to SJ's face with some spill over on other actor's back. Might be flagged to keep level down on actor 2's back, might have egg crate on it to keep it focused. Another soft source higher and behind actors, camera left, to hit SJ's back, edge light hair, and hit actor 2's face. This kind of distinct, focused lighting requires professional actors who can repeatedly hit marks, and plenty of time to re-adjust lights when crossing to the next shot, and either careful use of light meter or quality monitor to adjust levels on each source for each shot.
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