I produced and DP'd a film back in October 2013 for Zeiss along with James Tonkin and I never got round to breaking down how we lit the shoot. So today I want to take you through some of the main scenes and break down the lighting we used in each and why. We were making a creative piece with a lean towards drama, commissioned by Zeiss lenses to show off their new Cine Zooms. We rented a lighting package from the team over at Shoot Blue in London and shot it in 5k on the Red Epic using the Zeiss 28-80, 70-200 and a range of Ultra pries and the 100macro Master Prime.
Firstly here's the film so you can familiarise yourself with what we did:
The Small footprint Drama Lighting package
This was the first time I had used this light. I had originally asked for a 4'4bank from Kino Flo from the rental company but they were all out and suggested I try this. Kino Flo are a real main stay for drama in fact they've won an oscar for the 4'4bank.
It's a bi-colour lamp that bends on the vertical axis which allows you to focus the light. The Light are a Spanish company and they make some really interesting products. What makes the 4long interesting is the lenses that they use over the LED's that diffuse the edges creating a wrap around source but with a punchy edge to it. I was able to use the light as a side fill in opening scene and then as a key exterior source outside the bathroom in the bath scene.
For the main scene of Sara at the dressing table I used a K5600 400w Joker bug shining straight in the window to simulate the sun. We wanted to show lens flare in the opening shot to demonstrate how well the Zeiss zooms control flare. The best way to do this is to shine a hard light source straight down the barrel of the lens.
The Joker 400 is a head with a choice of lenses and additional accessories that allow you to use the light in a variety of situations.
Finally I had a number of LED panels from F&V Light - I used these to light items in the frame and the smaller lights as fill for the talent.
They were small and useful for filling under Sara's chin while she put make up on in the film.
In Part 2 I'll break down each key lighting set up and how you could take the principles and replicate them in your own work.
K5600 Lighting - http://www.k5600.com/