Thread: I am improving my lighting skills - with the BMPCC. Would love feedback :))

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  1. #11  
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    Quote Originally Posted by John Brawley View Post
    I like the tonal range and colour mix, but I feel like your main source (key) is very toppy.

    When you have someone playing guitar, they'll probably spend a bit of time looking down at their guitar too so a top light will be a little wasted in this scenario.

    If the top source could be a lot bigger, or lower in shot it might wrap in a little more. Some ultrabounce or just pieces of unbleached muslin on the floor could work for passive bounce or you can activate it by using something small and collimated. A Dedo or maybe a leko / source 4 is good for this job.

    That said, it's really tricky to light for three angles in a 180 deg arc like this wide and tight. For me, I try and keep the frame sizes the same on a setup like this. So three wider shots rather than a two and two singles. Then on take two you can sneak everyone close, drop the lighting in closer and fine up the eyelines on the singles as well.

    If it's to playback then it should be easy to change up the sizes. If it's a live RECORDING then it's trickier to manage.

    If it were me I'm not sure I would have set them where they are. I would have maybe gone a little deeper in the room, rather than near those returns that are there ?

    Heres a sequence I did on The Beautiful Lie. The artist is singing live, the director was adamant we weren't to have any playback. All the live work (singing shots) were done over two takes with two cameras. Alexa Studio with Zeiss Superspeeds. M40 outside if I recall.

    https://vimeo.com/153069892

    This one was also done in the same way but night.

    https://vimeo.com/154004536

    JB
    Hey John
    thanks for taking the time. I appreciate that.
    You are right about the toplight. I could easily angled that a bit and could have lowered it even a bit. I know that it would have made it softer, I dont even know why I didnt to that. Made a mental note to never let that happen again.
    Moving them into the room sounds great, I think I was intimidated on the day, this was the biggest set I have lit so far. I feared that when I move the goal post rig behind these walls thez might be visible in the singles.
    Watched your videos, they look great. Your coverage is very inspiring, I have bookmarked that.

    oh and Jon, thanks to you, too. Will try to stay away from these top top lights for guitar players and musicians in general. They indeed look down a lot.
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  2. #12  
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    Quote Originally Posted by John Brawley View Post
    I like the tonal range and colour mix, but I feel like your main source (key) is very toppy.

    When you have someone playing guitar, they'll probably spend a bit of time looking down at their guitar too so a top light will be a little wasted in this scenario.

    If the top source could be a lot bigger, or lower in shot it might wrap in a little more. Some ultrabounce or just pieces of unbleached muslin on the floor could work for passive bounce or you can activate it by using something small and collimated. A Dedo or maybe a leko / source 4 is good for this job.

    That said, it's really tricky to light for three angles in a 180 deg arc like this wide and tight. For me, I try and keep the frame sizes the same on a setup like this. So three wider shots rather than a two and two singles. Then on take two you can sneak everyone close, drop the lighting in closer and fine up the eyelines on the singles as well.

    If it's to playback then it should be easy to change up the sizes. If it's a live RECORDING then it's trickier to manage.

    If it were me I'm not sure I would have set them where they are. I would have maybe gone a little deeper in the room, rather than near those returns that are there ?

    Heres a sequence I did on The Beautiful Lie. The artist is singing live, the director was adamant we weren't to have any playback. All the live work (singing shots) were done over two takes with two cameras. Alexa Studio with Zeiss Superspeeds. M40 outside if I recall.

    https://vimeo.com/153069892

    This one was also done in the same way but night.

    https://vimeo.com/154004536

    JB
    John Thanks for sharing your examples with the group. I really enjoyed them. And Rotbart thanks for sharing your set up examples as well. It is always fun to look at different set ups and think about what we could do. There is always something to be gleaned from every situation, that will hopefully serve us all in the future.
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  3. #13  
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    Quote Originally Posted by Rotbart View Post
    I shot this multicam music live session wih 2 BMPCCs and 1 Micro on Nikon AI and the Tokina 28-70 2.8
    Would like if you critque my lighting. I attached my plans for the day. I added a hairlight to her on location to simulate to moonlight hit her.
    Otherwhise I stuck to the plans.

    I used a Falcon Eyes 18TD through 4x4 diffusion as a toplight. 2 500W Tungsten for the backroom for fill. And two Pixarpro lights for the blue athmosphere outside

    Attachment 25831
    Attachment 25832
    Attachment 25833

    Attachment 25834
    Holy S*** that is amazing! The color grading is quite beautiful, nothing clipping, solid tonality especially on the first link. Truly a cinema quality shot. And if you asked me what camera the first one was, I would most certainly have said Alexa.
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  4. #14  
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    Wow thanks. I appreciate it.
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  5. #15  
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    The video is online.
    Check it out! The music is wonderful.
    https://youtu.be/Rn2ifYINi0M
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