September 13, 2015
I challenged myself to get two completely different looks without moving the camera. The first one is purely lit by the sun, and the second is after dark, once we’ve set up some lights.
THIS WEEK’S DSLR GUIDE:
LIGHTING GEAR USED:
This setup was largely down to finding the right location at the right time. It just happened to be a bright, sunny day, with the sun in the (almost) perfect place to come through the front window as a keylight. All I had to do was add some diffusion, and block the back two windows. Subtracting light is just as important as adding it! Camera was set to ISO 160, f/3.2, 1/48th.
Here the blinds are closed, providing the streaks of lights often used in Film Noir (some say for their relation to the bars of a jail cell). At the back is a Westcott Skylux, pointed at the background, but carefully positioned so the character remains in silhouette while sitting on the chair. The key light is placed about 10ft high without any diffusion to simulate the studio lighting that would have been used to film something like Sunset Blvd or Double Indemnity. Although not shown on the diagram, I did also setup a flag to prevent the keylight spilling through the middle window. Camera was set to ISO 320, f/2.8, 1/48th.
SOCIAL MEDIA ROUNDUP
great cinematography works in 480p resolution. many dvds look better than 4k ‘crispy’ footage with poor colour, lighting and composition.
— Simon Cade (@DSLRguidance) September 13, 2015
Filmmaker, and host of DSLRguide. Since I was making my first film age 11, I have always been fascinated by the way films are produced, and the effect it can have on the audience.