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This page is dedicated to showing how I achieved the look of particular setups and goes into detail about what lights I used and their positioning, as well as explanations of any filters or grip equipment I used. I have included pictures and diagrams of lighting setups as well. If you have further questions feel free to email me at mitchellpriebe@rochester.rr.com.
(All footage shot at ISO 400 T5.6 unless otherwise stated)
The clip above shows some lighting tests I conducted with 8 X clamp work lights bounced into a 5' x 5' frame of unbleached muslin. I made the frame using PVC pipes, stretched the fabric across the frame, and tied it down with zip ties. On some shots, I stretched aluminum foil across the frame and bounced into that, which gave me an extra stop of exposure. The frame hung off of a c-stand with the 8 x clamp work lights about 2-3' away. Each fixture had a 150 watt incandescent bulb installed inside and was connected to a dimmer. In some of the shots, I aimed a home-made fixture with four Quasar Tubes onto the back wall to simulate indirect/bounced sunshine. I wanted complete control over the light, which made it necessary to put black trash bags over the windows to block out the natural daylight. My goal for this setup was to test out different color temperatures and the effects they create on camera by dimming the lights and/or changing the white balance of the camera.
The 8 X clamp work lights attached to a rod supported by 2 light stands.
In the initial shots I was using the lights to create the look of indirect sunlight coming in through the windows, such as on a bright sunny day when the sun bounces off the ground and fills a room with soft, even light. The Quasar Tubes are 3000K and the incandescents are 2800K, so by changing the camera’s white balance to 3200K and then 3800K the light takes on a warmer look more akin to early morning or late evening when the sun’s color temperature decreases to a “warmer” value. Alternately, I was able to decrease the camera’s white balance to 2500K to make the lights appear cooler, which creates the look of a winter’s day. I was also able to warm up the incandescents by dimming them down, which lowers their color temperature. I also set out to test how far I could push the BMPCC 4K’s ISO without introducing excessive noise. I prefer shooting at the camera’s native ISO of 400, but feel that 1250 gives me pretty clean results if I need extra sensitivity during a dark scene as at that ISO I have more latitude below middle gray.
My home-made Quasar Tube fixture.
