์ธ์คํ๊ทธ๋จ ์คํ ๋ฆฌ ๋ทฐ์ด
์ธ์คํ๊ทธ๋จ ์คํ ๋ฆฌ๋ฅผ ์ต๋ช ์ผ๋ก ๋ณด๊ธฐ
primogaffer
Jared Paul | Gaffer๐ก
primo lighting.
๐กGaffer & Lighting Tech/Spark
๐ 1.5-ton G&E Package Owner-Op.
๐๏ธ IPAF Licence 3B-3A-1B
๐ CE Licence loadingโฆ
๐ช๐บ Frankfurt / Europe
work for @kia.worldwide x @leagueoflegends
In total there were 3x 30s-spots of which two of them were located inside a Kia EV3 parked on a parking lot infront of LEC Arena.
The challenge for this was to build something outside (hell yeah windโฆ) yet simple and flexible enough to have control over ever-changing lighting conditions (cloudy sun) - but also taking care of reflections/ being ready for windshield shots. โ> taking control ๐ก
I pre-lit everything within @elixxiersoftware to see which minimum size frame Iโd need to fly overhead and with certain focal lengths in mind. Since this software is photometrically correct I could also realistically light it with the lightโs I planned on using. I also got to test V3 Beta where the options are endless so I utilized HDRI Maps for more realistic planning, also with reflections - which was super helpful for this scenario.
I played around with different looks and decided to go with an Ultrabounce (white side down) as the overhead since it entirely blocked the sun, also wouldnโt soak up too much in case of rain. And since the car wasnโt moving in the scene I also dropped the idea of going with Black Scrim (where you still see overhead reflections passing byโฆ like trees/branches).
White side down? I tested it and it looked better than black side down because black felt more present.
Skypanel S360 as key with some help of an 8โx12โ Ultrabounce - which really helped with more punch in case of the sun coming outโฆ keeping it proportionally ๐ค๐ฝ
Two T5โs as rim and a 12K Dino for background extension on the reverse shot.
Production @innocean.eu
Producer Naomie Mahray @eimoanaomie
Creative Producer Morten Frantz
Director/DP @fynnopynno
Creative Director Timo Kanehl
Art Director: @johnny_schepp + Ana Magdalena Marques
Gaffer @primogaffer
BBE @erik_hellfeier
SLT @niklasschraut
AC @niclaslenhard
Prod. Sound Mixer @lukashasiba
work for @kia.worldwide x @leagueoflegends
In total there were 3x 30s-spots of which two of them were located inside a Kia EV3 parked on a parking lot infront of LEC Arena.
The challenge for this was to build something outside (hell yeah windโฆ) yet simple and flexible enough to have control over ever-changing lighting conditions (cloudy sun) - but also taking care of reflections/ being ready for windshield shots. โ> taking control ๐ก
I pre-lit everything within @elixxiersoftware to see which minimum size frame Iโd need to fly overhead and with certain focal lengths in mind. Since this software is photometrically correct I could also realistically light it with the lightโs I planned on using. I also got to test V3 Beta where the options are endless so I utilized HDRI Maps for more realistic planning, also with reflections - which was super helpful for this scenario.
I played around with different looks and decided to go with an Ultrabounce (white side down) as the overhead since it entirely blocked the sun, also wouldnโt soak up too much in case of rain. And since the car wasnโt moving in the scene I also dropped the idea of going with Black Scrim (where you still see overhead reflections passing byโฆ like trees/branches).
White side down? I tested it and it looked better than black side down because black felt more present.
Skypanel S360 as key with some help of an 8โx12โ Ultrabounce - which really helped with more punch in case of the sun coming outโฆ keeping it proportionally ๐ค๐ฝ
Two T5โs as rim and a 12K Dino for background extension on the reverse shot.
Production @innocean.eu
Producer Naomie Mahray @eimoanaomie
Creative Producer Morten Frantz
Director/DP @fynnopynno
Creative Director Timo Kanehl
Art Director: @johnny_schepp + Ana Magdalena Marques
Gaffer @primogaffer
BBE @erik_hellfeier
SLT @niklasschraut
AC @niclaslenhard
Prod. Sound Mixer @lukashasiba
work for @kia.worldwide x @leagueoflegends
In total there were 3x 30s-spots of which two of them were located inside a Kia EV3 parked on a parking lot infront of LEC Arena.
The challenge for this was to build something outside (hell yeah windโฆ) yet simple and flexible enough to have control over ever-changing lighting conditions (cloudy sun) - but also taking care of reflections/ being ready for windshield shots. โ> taking control ๐ก
I pre-lit everything within @elixxiersoftware to see which minimum size frame Iโd need to fly overhead and with certain focal lengths in mind. Since this software is photometrically correct I could also realistically light it with the lightโs I planned on using. I also got to test V3 Beta where the options are endless so I utilized HDRI Maps for more realistic planning, also with reflections - which was super helpful for this scenario.
I played around with different looks and decided to go with an Ultrabounce (white side down) as the overhead since it entirely blocked the sun, also wouldnโt soak up too much in case of rain. And since the car wasnโt moving in the scene I also dropped the idea of going with Black Scrim (where you still see overhead reflections passing byโฆ like trees/branches).
White side down? I tested it and it looked better than black side down because black felt more present.
Skypanel S360 as key with some help of an 8โx12โ Ultrabounce - which really helped with more punch in case of the sun coming outโฆ keeping it proportionally ๐ค๐ฝ
Two T5โs as rim and a 12K Dino for background extension on the reverse shot.
Production @innocean.eu
Producer Naomie Mahray @eimoanaomie
Creative Producer Morten Frantz
Director/DP @fynnopynno
Creative Director Timo Kanehl
Art Director: @johnny_schepp + Ana Magdalena Marques
Gaffer @primogaffer
BBE @erik_hellfeier
SLT @niklasschraut
AC @niclaslenhard
Prod. Sound Mixer @lukashasiba
work for @kia.worldwide x @leagueoflegends
In total there were 3x 30s-spots of which two of them were located inside a Kia EV3 parked on a parking lot infront of LEC Arena.
The challenge for this was to build something outside (hell yeah windโฆ) yet simple and flexible enough to have control over ever-changing lighting conditions (cloudy sun) - but also taking care of reflections/ being ready for windshield shots. โ> taking control ๐ก
I pre-lit everything within @elixxiersoftware to see which minimum size frame Iโd need to fly overhead and with certain focal lengths in mind. Since this software is photometrically correct I could also realistically light it with the lightโs I planned on using. I also got to test V3 Beta where the options are endless so I utilized HDRI Maps for more realistic planning, also with reflections - which was super helpful for this scenario.
I played around with different looks and decided to go with an Ultrabounce (white side down) as the overhead since it entirely blocked the sun, also wouldnโt soak up too much in case of rain. And since the car wasnโt moving in the scene I also dropped the idea of going with Black Scrim (where you still see overhead reflections passing byโฆ like trees/branches).
White side down? I tested it and it looked better than black side down because black felt more present.
Skypanel S360 as key with some help of an 8โx12โ Ultrabounce - which really helped with more punch in case of the sun coming outโฆ keeping it proportionally ๐ค๐ฝ
Two T5โs as rim and a 12K Dino for background extension on the reverse shot.
Production @innocean.eu
Producer Naomie Mahray @eimoanaomie
Creative Producer Morten Frantz
Director/DP @fynnopynno
Creative Director Timo Kanehl
Art Director: @johnny_schepp + Ana Magdalena Marques
Gaffer @primogaffer
BBE @erik_hellfeier
SLT @niklasschraut
AC @niclaslenhard
Prod. Sound Mixer @lukashasiba
work for @kia.worldwide x @leagueoflegends
In total there were 3x 30s-spots of which two of them were located inside a Kia EV3 parked on a parking lot infront of LEC Arena.
The challenge for this was to build something outside (hell yeah windโฆ) yet simple and flexible enough to have control over ever-changing lighting conditions (cloudy sun) - but also taking care of reflections/ being ready for windshield shots. โ> taking control ๐ก
I pre-lit everything within @elixxiersoftware to see which minimum size frame Iโd need to fly overhead and with certain focal lengths in mind. Since this software is photometrically correct I could also realistically light it with the lightโs I planned on using. I also got to test V3 Beta where the options are endless so I utilized HDRI Maps for more realistic planning, also with reflections - which was super helpful for this scenario.
I played around with different looks and decided to go with an Ultrabounce (white side down) as the overhead since it entirely blocked the sun, also wouldnโt soak up too much in case of rain. And since the car wasnโt moving in the scene I also dropped the idea of going with Black Scrim (where you still see overhead reflections passing byโฆ like trees/branches).
White side down? I tested it and it looked better than black side down because black felt more present.
Skypanel S360 as key with some help of an 8โx12โ Ultrabounce - which really helped with more punch in case of the sun coming outโฆ keeping it proportionally ๐ค๐ฝ
Two T5โs as rim and a 12K Dino for background extension on the reverse shot.
Production @innocean.eu
Producer Naomie Mahray @eimoanaomie
Creative Producer Morten Frantz
Director/DP @fynnopynno
Creative Director Timo Kanehl
Art Director: @johnny_schepp + Ana Magdalena Marques
Gaffer @primogaffer
BBE @erik_hellfeier
SLT @niklasschraut
AC @niclaslenhard
Prod. Sound Mixer @lukashasiba
work for @kia.worldwide x @leagueoflegends
In total there were 3x 30s-spots of which two of them were located inside a Kia EV3 parked on a parking lot infront of LEC Arena.
The challenge for this was to build something outside (hell yeah windโฆ) yet simple and flexible enough to have control over ever-changing lighting conditions (cloudy sun) - but also taking care of reflections/ being ready for windshield shots. โ> taking control ๐ก
I pre-lit everything within @elixxiersoftware to see which minimum size frame Iโd need to fly overhead and with certain focal lengths in mind. Since this software is photometrically correct I could also realistically light it with the lightโs I planned on using. I also got to test V3 Beta where the options are endless so I utilized HDRI Maps for more realistic planning, also with reflections - which was super helpful for this scenario.
I played around with different looks and decided to go with an Ultrabounce (white side down) as the overhead since it entirely blocked the sun, also wouldnโt soak up too much in case of rain. And since the car wasnโt moving in the scene I also dropped the idea of going with Black Scrim (where you still see overhead reflections passing byโฆ like trees/branches).
White side down? I tested it and it looked better than black side down because black felt more present.
Skypanel S360 as key with some help of an 8โx12โ Ultrabounce - which really helped with more punch in case of the sun coming outโฆ keeping it proportionally ๐ค๐ฝ
Two T5โs as rim and a 12K Dino for background extension on the reverse shot.
Production @innocean.eu
Producer Naomie Mahray @eimoanaomie
Creative Producer Morten Frantz
Director/DP @fynnopynno
Creative Director Timo Kanehl
Art Director: @johnny_schepp + Ana Magdalena Marques
Gaffer @primogaffer
BBE @erik_hellfeier
SLT @niklasschraut
AC @niclaslenhard
Prod. Sound Mixer @lukashasiba
Not your typical G&E van ๐โก๏ธ๐
โโโ
#lightingforfilm #onsetlighting #gaffer #setlighting #gripelectric #griptruck #filmighting #gripandelectric #gafferlife #setlighting #griptruckbuild #filmgear #FilmTools #lightingdepartment #onsetlife #towplant #genny #arri #nanlux #filmsetlife
Work for @dunkindonuts_de
Shooting a commercial in a bus was a first! ๐
Lighting big window fronts can be challenging especially with limited resources.
But thatโs why (generally) recces are important in order to make a solid game plan.
Slide 2๏ธโฃ: Sun position/cylce of shooting day
โ๏ธ DP wanted to go with a hard afternoon sunlight look for this one.
Slide3๏ธโฃ: I originally thought about building a truss build on two stands with a 12x20 topper to extend/cast shadow and place a couple fixtures beneath it to cover the window front.
Which I think wouldโve worked flawlessly also with "hidingโ your setup on camera.
โ> but we didnโt have the capacity to do so.
Lacationโs roof helped with broadly blocking the sun, creating some shade which enabled us to go with smaller fixtures, too.
Setup on Slide 1๏ธโฃ:
We were shooting in the back of the bus later due to sun positioning.
3x similar in output fixtures on the side acted as our sun. Sun into CRLS-100 DIFF2 for fill on the ceiling in the bus (especially for wider shots)
20โx20โ Black Art. Silk 1/4 to take some edge of the sun coming through the front. (not the best for this purpose but worked fine. also being a net/black silk helped with wind in that case)
Slide 4๏ธโฃ: On this push-in shot the sun was backlighting the bus, except it didnโt entirely due to the roof. Thatโs why I added a Evoke 1200 as a controlled sun/backlight on our favored position. Sun again into CRLS-100 DIFF1 creating a nice harsh sunlight on our Bus Driverโs body.
This and an old italian 4K HMI Fresnel pushing into a 12โ Art. Silk for a nice big and soft fill.
which was also acting as a bounce too once the sun was out.
โ> giving us that nice SOFHOB look (soft on face, hard on body)
Some Solid T-Bone to give it some shape, and we were running everything off a 15kVA Diesel Generator.
Client: @dunkindonuts_de
Production: @focasfilmsย
Director: @nils.castner
DP: @_moritzforster
AC: @julian_gehrig
Gaffer: @primogaffer
BBE:ย @xrdrey
Key Grip: Thomas Spitzbartย
Genny Op: Julian Krauthรคuserย
Grip/BTS: @mustafaahmed.aim3
BTS: @moritz.knoellinger
HMUA: Elisa Schaller
Editor: @nils.castner
Colorist: @jared.film
Work for @dunkindonuts_de
Shooting a commercial in a bus was a first! ๐
Lighting big window fronts can be challenging especially with limited resources.
But thatโs why (generally) recces are important in order to make a solid game plan.
Slide 2๏ธโฃ: Sun position/cylce of shooting day
โ๏ธ DP wanted to go with a hard afternoon sunlight look for this one.
Slide3๏ธโฃ: I originally thought about building a truss build on two stands with a 12x20 topper to extend/cast shadow and place a couple fixtures beneath it to cover the window front.
Which I think wouldโve worked flawlessly also with "hidingโ your setup on camera.
โ> but we didnโt have the capacity to do so.
Lacationโs roof helped with broadly blocking the sun, creating some shade which enabled us to go with smaller fixtures, too.
Setup on Slide 1๏ธโฃ:
We were shooting in the back of the bus later due to sun positioning.
3x similar in output fixtures on the side acted as our sun. Sun into CRLS-100 DIFF2 for fill on the ceiling in the bus (especially for wider shots)
20โx20โ Black Art. Silk 1/4 to take some edge of the sun coming through the front. (not the best for this purpose but worked fine. also being a net/black silk helped with wind in that case)
Slide 4๏ธโฃ: On this push-in shot the sun was backlighting the bus, except it didnโt entirely due to the roof. Thatโs why I added a Evoke 1200 as a controlled sun/backlight on our favored position. Sun again into CRLS-100 DIFF1 creating a nice harsh sunlight on our Bus Driverโs body.
This and an old italian 4K HMI Fresnel pushing into a 12โ Art. Silk for a nice big and soft fill.
which was also acting as a bounce too once the sun was out.
โ> giving us that nice SOFHOB look (soft on face, hard on body)
Some Solid T-Bone to give it some shape, and we were running everything off a 15kVA Diesel Generator.
Client: @dunkindonuts_de
Production: @focasfilmsย
Director: @nils.castner
DP: @_moritzforster
AC: @julian_gehrig
Gaffer: @primogaffer
BBE:ย @xrdrey
Key Grip: Thomas Spitzbartย
Genny Op: Julian Krauthรคuserย
Grip/BTS: @mustafaahmed.aim3
BTS: @moritz.knoellinger
HMUA: Elisa Schaller
Editor: @nils.castner
Colorist: @jared.film
Work for @dunkindonuts_de
Shooting a commercial in a bus was a first! ๐
Lighting big window fronts can be challenging especially with limited resources.
But thatโs why (generally) recces are important in order to make a solid game plan.
Slide 2๏ธโฃ: Sun position/cylce of shooting day
โ๏ธ DP wanted to go with a hard afternoon sunlight look for this one.
Slide3๏ธโฃ: I originally thought about building a truss build on two stands with a 12x20 topper to extend/cast shadow and place a couple fixtures beneath it to cover the window front.
Which I think wouldโve worked flawlessly also with "hidingโ your setup on camera.
โ> but we didnโt have the capacity to do so.
Lacationโs roof helped with broadly blocking the sun, creating some shade which enabled us to go with smaller fixtures, too.
Setup on Slide 1๏ธโฃ:
We were shooting in the back of the bus later due to sun positioning.
3x similar in output fixtures on the side acted as our sun. Sun into CRLS-100 DIFF2 for fill on the ceiling in the bus (especially for wider shots)
20โx20โ Black Art. Silk 1/4 to take some edge of the sun coming through the front. (not the best for this purpose but worked fine. also being a net/black silk helped with wind in that case)
Slide 4๏ธโฃ: On this push-in shot the sun was backlighting the bus, except it didnโt entirely due to the roof. Thatโs why I added a Evoke 1200 as a controlled sun/backlight on our favored position. Sun again into CRLS-100 DIFF1 creating a nice harsh sunlight on our Bus Driverโs body.
This and an old italian 4K HMI Fresnel pushing into a 12โ Art. Silk for a nice big and soft fill.
which was also acting as a bounce too once the sun was out.
โ> giving us that nice SOFHOB look (soft on face, hard on body)
Some Solid T-Bone to give it some shape, and we were running everything off a 15kVA Diesel Generator.
Client: @dunkindonuts_de
Production: @focasfilmsย
Director: @nils.castner
DP: @_moritzforster
AC: @julian_gehrig
Gaffer: @primogaffer
BBE:ย @xrdrey
Key Grip: Thomas Spitzbartย
Genny Op: Julian Krauthรคuserย
Grip/BTS: @mustafaahmed.aim3
BTS: @moritz.knoellinger
HMUA: Elisa Schaller
Editor: @nils.castner
Colorist: @jared.film
Work for @dunkindonuts_de
Shooting a commercial in a bus was a first! ๐
Lighting big window fronts can be challenging especially with limited resources.
But thatโs why (generally) recces are important in order to make a solid game plan.
Slide 2๏ธโฃ: Sun position/cylce of shooting day
โ๏ธ DP wanted to go with a hard afternoon sunlight look for this one.
Slide3๏ธโฃ: I originally thought about building a truss build on two stands with a 12x20 topper to extend/cast shadow and place a couple fixtures beneath it to cover the window front.
Which I think wouldโve worked flawlessly also with "hidingโ your setup on camera.
โ> but we didnโt have the capacity to do so.
Lacationโs roof helped with broadly blocking the sun, creating some shade which enabled us to go with smaller fixtures, too.
Setup on Slide 1๏ธโฃ:
We were shooting in the back of the bus later due to sun positioning.
3x similar in output fixtures on the side acted as our sun. Sun into CRLS-100 DIFF2 for fill on the ceiling in the bus (especially for wider shots)
20โx20โ Black Art. Silk 1/4 to take some edge of the sun coming through the front. (not the best for this purpose but worked fine. also being a net/black silk helped with wind in that case)
Slide 4๏ธโฃ: On this push-in shot the sun was backlighting the bus, except it didnโt entirely due to the roof. Thatโs why I added a Evoke 1200 as a controlled sun/backlight on our favored position. Sun again into CRLS-100 DIFF1 creating a nice harsh sunlight on our Bus Driverโs body.
This and an old italian 4K HMI Fresnel pushing into a 12โ Art. Silk for a nice big and soft fill.
which was also acting as a bounce too once the sun was out.
โ> giving us that nice SOFHOB look (soft on face, hard on body)
Some Solid T-Bone to give it some shape, and we were running everything off a 15kVA Diesel Generator.
Client: @dunkindonuts_de
Production: @focasfilmsย
Director: @nils.castner
DP: @_moritzforster
AC: @julian_gehrig
Gaffer: @primogaffer
BBE:ย @xrdrey
Key Grip: Thomas Spitzbartย
Genny Op: Julian Krauthรคuserย
Grip/BTS: @mustafaahmed.aim3
BTS: @moritz.knoellinger
HMUA: Elisa Schaller
Editor: @nils.castner
Colorist: @jared.film
Work for @dunkindonuts_de
Shooting a commercial in a bus was a first! ๐
Lighting big window fronts can be challenging especially with limited resources.
But thatโs why (generally) recces are important in order to make a solid game plan.
Slide 2๏ธโฃ: Sun position/cylce of shooting day
โ๏ธ DP wanted to go with a hard afternoon sunlight look for this one.
Slide3๏ธโฃ: I originally thought about building a truss build on two stands with a 12x20 topper to extend/cast shadow and place a couple fixtures beneath it to cover the window front.
Which I think wouldโve worked flawlessly also with "hidingโ your setup on camera.
โ> but we didnโt have the capacity to do so.
Lacationโs roof helped with broadly blocking the sun, creating some shade which enabled us to go with smaller fixtures, too.
Setup on Slide 1๏ธโฃ:
We were shooting in the back of the bus later due to sun positioning.
3x similar in output fixtures on the side acted as our sun. Sun into CRLS-100 DIFF2 for fill on the ceiling in the bus (especially for wider shots)
20โx20โ Black Art. Silk 1/4 to take some edge of the sun coming through the front. (not the best for this purpose but worked fine. also being a net/black silk helped with wind in that case)
Slide 4๏ธโฃ: On this push-in shot the sun was backlighting the bus, except it didnโt entirely due to the roof. Thatโs why I added a Evoke 1200 as a controlled sun/backlight on our favored position. Sun again into CRLS-100 DIFF1 creating a nice harsh sunlight on our Bus Driverโs body.
This and an old italian 4K HMI Fresnel pushing into a 12โ Art. Silk for a nice big and soft fill.
which was also acting as a bounce too once the sun was out.
โ> giving us that nice SOFHOB look (soft on face, hard on body)
Some Solid T-Bone to give it some shape, and we were running everything off a 15kVA Diesel Generator.
Client: @dunkindonuts_de
Production: @focasfilmsย
Director: @nils.castner
DP: @_moritzforster
AC: @julian_gehrig
Gaffer: @primogaffer
BBE:ย @xrdrey
Key Grip: Thomas Spitzbartย
Genny Op: Julian Krauthรคuserย
Grip/BTS: @mustafaahmed.aim3
BTS: @moritz.knoellinger
HMUA: Elisa Schaller
Editor: @nils.castner
Colorist: @jared.film
Work for @dunkindonuts_de
Shooting a commercial in a bus was a first! ๐
Lighting big window fronts can be challenging especially with limited resources.
But thatโs why (generally) recces are important in order to make a solid game plan.
Slide 2๏ธโฃ: Sun position/cylce of shooting day
โ๏ธ DP wanted to go with a hard afternoon sunlight look for this one.
Slide3๏ธโฃ: I originally thought about building a truss build on two stands with a 12x20 topper to extend/cast shadow and place a couple fixtures beneath it to cover the window front.
Which I think wouldโve worked flawlessly also with "hidingโ your setup on camera.
โ> but we didnโt have the capacity to do so.
Lacationโs roof helped with broadly blocking the sun, creating some shade which enabled us to go with smaller fixtures, too.
Setup on Slide 1๏ธโฃ:
We were shooting in the back of the bus later due to sun positioning.
3x similar in output fixtures on the side acted as our sun. Sun into CRLS-100 DIFF2 for fill on the ceiling in the bus (especially for wider shots)
20โx20โ Black Art. Silk 1/4 to take some edge of the sun coming through the front. (not the best for this purpose but worked fine. also being a net/black silk helped with wind in that case)
Slide 4๏ธโฃ: On this push-in shot the sun was backlighting the bus, except it didnโt entirely due to the roof. Thatโs why I added a Evoke 1200 as a controlled sun/backlight on our favored position. Sun again into CRLS-100 DIFF1 creating a nice harsh sunlight on our Bus Driverโs body.
This and an old italian 4K HMI Fresnel pushing into a 12โ Art. Silk for a nice big and soft fill.
which was also acting as a bounce too once the sun was out.
โ> giving us that nice SOFHOB look (soft on face, hard on body)
Some Solid T-Bone to give it some shape, and we were running everything off a 15kVA Diesel Generator.
Client: @dunkindonuts_de
Production: @focasfilmsย
Director: @nils.castner
DP: @_moritzforster
AC: @julian_gehrig
Gaffer: @primogaffer
BBE:ย @xrdrey
Key Grip: Thomas Spitzbartย
Genny Op: Julian Krauthรคuserย
Grip/BTS: @mustafaahmed.aim3
BTS: @moritz.knoellinger
HMUA: Elisa Schaller
Editor: @nils.castner
Colorist: @jared.film
Work for @dunkindonuts_de
Shooting a commercial in a bus was a first! ๐
Lighting big window fronts can be challenging especially with limited resources.
But thatโs why (generally) recces are important in order to make a solid game plan.
Slide 2๏ธโฃ: Sun position/cylce of shooting day
โ๏ธ DP wanted to go with a hard afternoon sunlight look for this one.
Slide3๏ธโฃ: I originally thought about building a truss build on two stands with a 12x20 topper to extend/cast shadow and place a couple fixtures beneath it to cover the window front.
Which I think wouldโve worked flawlessly also with "hidingโ your setup on camera.
โ> but we didnโt have the capacity to do so.
Lacationโs roof helped with broadly blocking the sun, creating some shade which enabled us to go with smaller fixtures, too.
Setup on Slide 1๏ธโฃ:
We were shooting in the back of the bus later due to sun positioning.
3x similar in output fixtures on the side acted as our sun. Sun into CRLS-100 DIFF2 for fill on the ceiling in the bus (especially for wider shots)
20โx20โ Black Art. Silk 1/4 to take some edge of the sun coming through the front. (not the best for this purpose but worked fine. also being a net/black silk helped with wind in that case)
Slide 4๏ธโฃ: On this push-in shot the sun was backlighting the bus, except it didnโt entirely due to the roof. Thatโs why I added a Evoke 1200 as a controlled sun/backlight on our favored position. Sun again into CRLS-100 DIFF1 creating a nice harsh sunlight on our Bus Driverโs body.
This and an old italian 4K HMI Fresnel pushing into a 12โ Art. Silk for a nice big and soft fill.
which was also acting as a bounce too once the sun was out.
โ> giving us that nice SOFHOB look (soft on face, hard on body)
Some Solid T-Bone to give it some shape, and we were running everything off a 15kVA Diesel Generator.
Client: @dunkindonuts_de
Production: @focasfilmsย
Director: @nils.castner
DP: @_moritzforster
AC: @julian_gehrig
Gaffer: @primogaffer
BBE:ย @xrdrey
Key Grip: Thomas Spitzbartย
Genny Op: Julian Krauthรคuserย
Grip/BTS: @mustafaahmed.aim3
BTS: @moritz.knoellinger
HMUA: Elisa Schaller
Editor: @nils.castner
Colorist: @jared.film
Work for @dunkindonuts_de
Shooting a commercial in a bus was a first! ๐
Lighting big window fronts can be challenging especially with limited resources.
But thatโs why (generally) recces are important in order to make a solid game plan.
Slide 2๏ธโฃ: Sun position/cylce of shooting day
โ๏ธ DP wanted to go with a hard afternoon sunlight look for this one.
Slide3๏ธโฃ: I originally thought about building a truss build on two stands with a 12x20 topper to extend/cast shadow and place a couple fixtures beneath it to cover the window front.
Which I think wouldโve worked flawlessly also with "hidingโ your setup on camera.
โ> but we didnโt have the capacity to do so.
Lacationโs roof helped with broadly blocking the sun, creating some shade which enabled us to go with smaller fixtures, too.
Setup on Slide 1๏ธโฃ:
We were shooting in the back of the bus later due to sun positioning.
3x similar in output fixtures on the side acted as our sun. Sun into CRLS-100 DIFF2 for fill on the ceiling in the bus (especially for wider shots)
20โx20โ Black Art. Silk 1/4 to take some edge of the sun coming through the front. (not the best for this purpose but worked fine. also being a net/black silk helped with wind in that case)
Slide 4๏ธโฃ: On this push-in shot the sun was backlighting the bus, except it didnโt entirely due to the roof. Thatโs why I added a Evoke 1200 as a controlled sun/backlight on our favored position. Sun again into CRLS-100 DIFF1 creating a nice harsh sunlight on our Bus Driverโs body.
This and an old italian 4K HMI Fresnel pushing into a 12โ Art. Silk for a nice big and soft fill.
which was also acting as a bounce too once the sun was out.
โ> giving us that nice SOFHOB look (soft on face, hard on body)
Some Solid T-Bone to give it some shape, and we were running everything off a 15kVA Diesel Generator.
Client: @dunkindonuts_de
Production: @focasfilmsย
Director: @nils.castner
DP: @_moritzforster
AC: @julian_gehrig
Gaffer: @primogaffer
BBE:ย @xrdrey
Key Grip: Thomas Spitzbartย
Genny Op: Julian Krauthรคuserย
Grip/BTS: @mustafaahmed.aim3
BTS: @moritz.knoellinger
HMUA: Elisa Schaller
Editor: @nils.castner
Colorist: @jared.film
Stop guessing your light levels.โจHereโs the tool I use to know exactly what Iโll get.โจConfidence > assumptions.โจ๐ Bonus tip + discount inside.
โ
I use @lightcalc.io to figure out whether a specific light is strong enough for my setup โ before even stepping on set.
In this case, I wanted to go for a sunset look using a 12K Tungsten Dino.โจThe light needed to:โจA) overpower ambient on a cloudy dayโจB) still enough output on the subject at 10 meters distance
โ
LightCalc helped me run the numbers โ and it worked. Spot on.
๐ Bonus Tip:โจI like to take ambient readings during tech scouts (inside buildings etc.) so I can input real values and get more accurate results in LightCalc.
๐ก You donโt always need to guess or rely on gut feeling โ especially in new or high-pressure setups. This gives you confidence and helps justify the gear you actually need.
๐งฎ LightCalc is a one-time purchase โ just 39โฌโจ๐ Use my code โJAREDโ for 25% off :)
โ
#gaffer #lightingtools #setlife #doptools #lightcalc #gaffertips #filmmakinggear #onsetlighting #lightingbreakdown #cinematographytools #filmlighting #gripandelectric #onsettools #learnlighting #setlighting #avengergrip #primolighting #lightingforfilm
It doesnโt always have to be complicated!โ๏ธ๐ก
For this intro scene of NEO TENIA (feature film concept) We only used 2 lights.
โ> Coverage with lots of wide angle shots challenged the lighting / or forced us to keep it simple, besides budged.
Exterior:
A 12K Maxi Brute/Dino or actually 10K for that shot because 2 bulbs went down (we shot this opener last)
and an Arri M40 HMI bulbed with a 2.5K globe for the front/ first bit of the dolly tracks (12K Dino extension) Through some 1/2 CTO and 1/2 CTS + 1/2 White Diff (LEE 250) to match the 12K tungsten.
interior: 12K Dino thru big window on easy lift (~6m) and 1K Baby to extend where the 12K couldnโt hit.
No more than a 4x4 solid floppy for the close up.
The final setup seams simple - which it is but planning was key to get the most bang for the buck and also for having the best fixture for this huge window.
I preferred the 12K over any HMI. Maximum we could do power-wise was M90 with a 6K globe. (We had 32A & 16A three-phase on location)
We were planning to go warmer in color temperature anyway, since we wanted a โlower-standing sunโ look - and tungsten is so cheap and โplug and playโ compared to HMIs. (this project was super low-budged)
So in the end, I just needed to figure out and calculate whether a 12K would be bright enough to overpower the ambient light.
With the help of @lightcalc.io I was able to quickly decide on what fixture would do the job.
Of course all of that was dependent on the type of weather. But I was going all-in on overcast ambience, based on weather forecast. Plus it was winter so I had high hopes.
Production: @focas.films
Writer/Director: @nils.castner
PM: @chrisduewel
DP:ย @_moritzforster
1st AC: @julian_gehrig
PD:ย Julius Castner
Set Designer:ย @wasnunjune
Costume Designer: @nastyaawwwwww
Gaffer: @primogaffer
Key Grip: Thomas Spitzbart
BBE:ย @erik_hellfeier
BBE:ย @niklasschraut
SLT:ย Matthes Rommel
SLT:ย @marius.krft
SLT:ย Julius Enczmannย
SLT:ย Christian Hauboldย ย
HMUA: @susi.retter ย
PA: @moritz.knoellinger
Prod Sound: @raphi_m_fits
Sound Design & Mix: Steve Wรผhr
Editor: Nils Castner
Colorist: @jared.film
Cast: @thienphuoc__nguyen @annaafiliz Stefan Drรผcke
It doesnโt always have to be complicated!โ๏ธ๐ก
For this intro scene of NEO TENIA (feature film concept) We only used 2 lights.
โ> Coverage with lots of wide angle shots challenged the lighting / or forced us to keep it simple, besides budged.
Exterior:
A 12K Maxi Brute/Dino or actually 10K for that shot because 2 bulbs went down (we shot this opener last)
and an Arri M40 HMI bulbed with a 2.5K globe for the front/ first bit of the dolly tracks (12K Dino extension) Through some 1/2 CTO and 1/2 CTS + 1/2 White Diff (LEE 250) to match the 12K tungsten.
interior: 12K Dino thru big window on easy lift (~6m) and 1K Baby to extend where the 12K couldnโt hit.
No more than a 4x4 solid floppy for the close up.
The final setup seams simple - which it is but planning was key to get the most bang for the buck and also for having the best fixture for this huge window.
I preferred the 12K over any HMI. Maximum we could do power-wise was M90 with a 6K globe. (We had 32A & 16A three-phase on location)
We were planning to go warmer in color temperature anyway, since we wanted a โlower-standing sunโ look - and tungsten is so cheap and โplug and playโ compared to HMIs. (this project was super low-budged)
So in the end, I just needed to figure out and calculate whether a 12K would be bright enough to overpower the ambient light.
With the help of @lightcalc.io I was able to quickly decide on what fixture would do the job.
Of course all of that was dependent on the type of weather. But I was going all-in on overcast ambience, based on weather forecast. Plus it was winter so I had high hopes.
Production: @focas.films
Writer/Director: @nils.castner
PM: @chrisduewel
DP:ย @_moritzforster
1st AC: @julian_gehrig
PD:ย Julius Castner
Set Designer:ย @wasnunjune
Costume Designer: @nastyaawwwwww
Gaffer: @primogaffer
Key Grip: Thomas Spitzbart
BBE:ย @erik_hellfeier
BBE:ย @niklasschraut
SLT:ย Matthes Rommel
SLT:ย @marius.krft
SLT:ย Julius Enczmannย
SLT:ย Christian Hauboldย ย
HMUA: @susi.retter ย
PA: @moritz.knoellinger
Prod Sound: @raphi_m_fits
Sound Design & Mix: Steve Wรผhr
Editor: Nils Castner
Colorist: @jared.film
Cast: @thienphuoc__nguyen @annaafiliz Stefan Drรผcke
It doesnโt always have to be complicated!โ๏ธ๐ก
For this intro scene of NEO TENIA (feature film concept) We only used 2 lights.
โ> Coverage with lots of wide angle shots challenged the lighting / or forced us to keep it simple, besides budged.
Exterior:
A 12K Maxi Brute/Dino or actually 10K for that shot because 2 bulbs went down (we shot this opener last)
and an Arri M40 HMI bulbed with a 2.5K globe for the front/ first bit of the dolly tracks (12K Dino extension) Through some 1/2 CTO and 1/2 CTS + 1/2 White Diff (LEE 250) to match the 12K tungsten.
interior: 12K Dino thru big window on easy lift (~6m) and 1K Baby to extend where the 12K couldnโt hit.
No more than a 4x4 solid floppy for the close up.
The final setup seams simple - which it is but planning was key to get the most bang for the buck and also for having the best fixture for this huge window.
I preferred the 12K over any HMI. Maximum we could do power-wise was M90 with a 6K globe. (We had 32A & 16A three-phase on location)
We were planning to go warmer in color temperature anyway, since we wanted a โlower-standing sunโ look - and tungsten is so cheap and โplug and playโ compared to HMIs. (this project was super low-budged)
So in the end, I just needed to figure out and calculate whether a 12K would be bright enough to overpower the ambient light.
With the help of @lightcalc.io I was able to quickly decide on what fixture would do the job.
Of course all of that was dependent on the type of weather. But I was going all-in on overcast ambience, based on weather forecast. Plus it was winter so I had high hopes.
Production: @focas.films
Writer/Director: @nils.castner
PM: @chrisduewel
DP:ย @_moritzforster
1st AC: @julian_gehrig
PD:ย Julius Castner
Set Designer:ย @wasnunjune
Costume Designer: @nastyaawwwwww
Gaffer: @primogaffer
Key Grip: Thomas Spitzbart
BBE:ย @erik_hellfeier
BBE:ย @niklasschraut
SLT:ย Matthes Rommel
SLT:ย @marius.krft
SLT:ย Julius Enczmannย
SLT:ย Christian Hauboldย ย
HMUA: @susi.retter ย
PA: @moritz.knoellinger
Prod Sound: @raphi_m_fits
Sound Design & Mix: Steve Wรผhr
Editor: Nils Castner
Colorist: @jared.film
Cast: @thienphuoc__nguyen @annaafiliz Stefan Drรผcke
It doesnโt always have to be complicated!โ๏ธ๐ก
For this intro scene of NEO TENIA (feature film concept) We only used 2 lights.
โ> Coverage with lots of wide angle shots challenged the lighting / or forced us to keep it simple, besides budged.
Exterior:
A 12K Maxi Brute/Dino or actually 10K for that shot because 2 bulbs went down (we shot this opener last)
and an Arri M40 HMI bulbed with a 2.5K globe for the front/ first bit of the dolly tracks (12K Dino extension) Through some 1/2 CTO and 1/2 CTS + 1/2 White Diff (LEE 250) to match the 12K tungsten.
interior: 12K Dino thru big window on easy lift (~6m) and 1K Baby to extend where the 12K couldnโt hit.
No more than a 4x4 solid floppy for the close up.
The final setup seams simple - which it is but planning was key to get the most bang for the buck and also for having the best fixture for this huge window.
I preferred the 12K over any HMI. Maximum we could do power-wise was M90 with a 6K globe. (We had 32A & 16A three-phase on location)
We were planning to go warmer in color temperature anyway, since we wanted a โlower-standing sunโ look - and tungsten is so cheap and โplug and playโ compared to HMIs. (this project was super low-budged)
So in the end, I just needed to figure out and calculate whether a 12K would be bright enough to overpower the ambient light.
With the help of @lightcalc.io I was able to quickly decide on what fixture would do the job.
Of course all of that was dependent on the type of weather. But I was going all-in on overcast ambience, based on weather forecast. Plus it was winter so I had high hopes.
Production: @focas.films
Writer/Director: @nils.castner
PM: @chrisduewel
DP:ย @_moritzforster
1st AC: @julian_gehrig
PD:ย Julius Castner
Set Designer:ย @wasnunjune
Costume Designer: @nastyaawwwwww
Gaffer: @primogaffer
Key Grip: Thomas Spitzbart
BBE:ย @erik_hellfeier
BBE:ย @niklasschraut
SLT:ย Matthes Rommel
SLT:ย @marius.krft
SLT:ย Julius Enczmannย
SLT:ย Christian Hauboldย ย
HMUA: @susi.retter ย
PA: @moritz.knoellinger
Prod Sound: @raphi_m_fits
Sound Design & Mix: Steve Wรผhr
Editor: Nils Castner
Colorist: @jared.film
Cast: @thienphuoc__nguyen @annaafiliz Stefan Drรผcke
It doesnโt always have to be complicated!โ๏ธ๐ก
For this intro scene of NEO TENIA (feature film concept) We only used 2 lights.
โ> Coverage with lots of wide angle shots challenged the lighting / or forced us to keep it simple, besides budged.
Exterior:
A 12K Maxi Brute/Dino or actually 10K for that shot because 2 bulbs went down (we shot this opener last)
and an Arri M40 HMI bulbed with a 2.5K globe for the front/ first bit of the dolly tracks (12K Dino extension) Through some 1/2 CTO and 1/2 CTS + 1/2 White Diff (LEE 250) to match the 12K tungsten.
interior: 12K Dino thru big window on easy lift (~6m) and 1K Baby to extend where the 12K couldnโt hit.
No more than a 4x4 solid floppy for the close up.
The final setup seams simple - which it is but planning was key to get the most bang for the buck and also for having the best fixture for this huge window.
I preferred the 12K over any HMI. Maximum we could do power-wise was M90 with a 6K globe. (We had 32A & 16A three-phase on location)
We were planning to go warmer in color temperature anyway, since we wanted a โlower-standing sunโ look - and tungsten is so cheap and โplug and playโ compared to HMIs. (this project was super low-budged)
So in the end, I just needed to figure out and calculate whether a 12K would be bright enough to overpower the ambient light.
With the help of @lightcalc.io I was able to quickly decide on what fixture would do the job.
Of course all of that was dependent on the type of weather. But I was going all-in on overcast ambience, based on weather forecast. Plus it was winter so I had high hopes.
Production: @focas.films
Writer/Director: @nils.castner
PM: @chrisduewel
DP:ย @_moritzforster
1st AC: @julian_gehrig
PD:ย Julius Castner
Set Designer:ย @wasnunjune
Costume Designer: @nastyaawwwwww
Gaffer: @primogaffer
Key Grip: Thomas Spitzbart
BBE:ย @erik_hellfeier
BBE:ย @niklasschraut
SLT:ย Matthes Rommel
SLT:ย @marius.krft
SLT:ย Julius Enczmannย
SLT:ย Christian Hauboldย ย
HMUA: @susi.retter ย
PA: @moritz.knoellinger
Prod Sound: @raphi_m_fits
Sound Design & Mix: Steve Wรผhr
Editor: Nils Castner
Colorist: @jared.film
Cast: @thienphuoc__nguyen @annaafiliz Stefan Drรผcke
It doesnโt always have to be complicated!โ๏ธ๐ก
For this intro scene of NEO TENIA (feature film concept) We only used 2 lights.
โ> Coverage with lots of wide angle shots challenged the lighting / or forced us to keep it simple, besides budged.
Exterior:
A 12K Maxi Brute/Dino or actually 10K for that shot because 2 bulbs went down (we shot this opener last)
and an Arri M40 HMI bulbed with a 2.5K globe for the front/ first bit of the dolly tracks (12K Dino extension) Through some 1/2 CTO and 1/2 CTS + 1/2 White Diff (LEE 250) to match the 12K tungsten.
interior: 12K Dino thru big window on easy lift (~6m) and 1K Baby to extend where the 12K couldnโt hit.
No more than a 4x4 solid floppy for the close up.
The final setup seams simple - which it is but planning was key to get the most bang for the buck and also for having the best fixture for this huge window.
I preferred the 12K over any HMI. Maximum we could do power-wise was M90 with a 6K globe. (We had 32A & 16A three-phase on location)
We were planning to go warmer in color temperature anyway, since we wanted a โlower-standing sunโ look - and tungsten is so cheap and โplug and playโ compared to HMIs. (this project was super low-budged)
So in the end, I just needed to figure out and calculate whether a 12K would be bright enough to overpower the ambient light.
With the help of @lightcalc.io I was able to quickly decide on what fixture would do the job.
Of course all of that was dependent on the type of weather. But I was going all-in on overcast ambience, based on weather forecast. Plus it was winter so I had high hopes.
Production: @focas.films
Writer/Director: @nils.castner
PM: @chrisduewel
DP:ย @_moritzforster
1st AC: @julian_gehrig
PD:ย Julius Castner
Set Designer:ย @wasnunjune
Costume Designer: @nastyaawwwwww
Gaffer: @primogaffer
Key Grip: Thomas Spitzbart
BBE:ย @erik_hellfeier
BBE:ย @niklasschraut
SLT:ย Matthes Rommel
SLT:ย @marius.krft
SLT:ย Julius Enczmannย
SLT:ย Christian Hauboldย ย
HMUA: @susi.retter ย
PA: @moritz.knoellinger
Prod Sound: @raphi_m_fits
Sound Design & Mix: Steve Wรผhr
Editor: Nils Castner
Colorist: @jared.film
Cast: @thienphuoc__nguyen @annaafiliz Stefan Drรผcke
It doesnโt always have to be complicated!โ๏ธ๐ก
For this intro scene of NEO TENIA (feature film concept) We only used 2 lights.
โ> Coverage with lots of wide angle shots challenged the lighting / or forced us to keep it simple, besides budged.
Exterior:
A 12K Maxi Brute/Dino or actually 10K for that shot because 2 bulbs went down (we shot this opener last)
and an Arri M40 HMI bulbed with a 2.5K globe for the front/ first bit of the dolly tracks (12K Dino extension) Through some 1/2 CTO and 1/2 CTS + 1/2 White Diff (LEE 250) to match the 12K tungsten.
interior: 12K Dino thru big window on easy lift (~6m) and 1K Baby to extend where the 12K couldnโt hit.
No more than a 4x4 solid floppy for the close up.
The final setup seams simple - which it is but planning was key to get the most bang for the buck and also for having the best fixture for this huge window.
I preferred the 12K over any HMI. Maximum we could do power-wise was M90 with a 6K globe. (We had 32A & 16A three-phase on location)
We were planning to go warmer in color temperature anyway, since we wanted a โlower-standing sunโ look - and tungsten is so cheap and โplug and playโ compared to HMIs. (this project was super low-budged)
So in the end, I just needed to figure out and calculate whether a 12K would be bright enough to overpower the ambient light.
With the help of @lightcalc.io I was able to quickly decide on what fixture would do the job.
Of course all of that was dependent on the type of weather. But I was going all-in on overcast ambience, based on weather forecast. Plus it was winter so I had high hopes.
Production: @focas.films
Writer/Director: @nils.castner
PM: @chrisduewel
DP:ย @_moritzforster
1st AC: @julian_gehrig
PD:ย Julius Castner
Set Designer:ย @wasnunjune
Costume Designer: @nastyaawwwwww
Gaffer: @primogaffer
Key Grip: Thomas Spitzbart
BBE:ย @erik_hellfeier
BBE:ย @niklasschraut
SLT:ย Matthes Rommel
SLT:ย @marius.krft
SLT:ย Julius Enczmannย
SLT:ย Christian Hauboldย ย
HMUA: @susi.retter ย
PA: @moritz.knoellinger
Prod Sound: @raphi_m_fits
Sound Design & Mix: Steve Wรผhr
Editor: Nils Castner
Colorist: @jared.film
Cast: @thienphuoc__nguyen @annaafiliz Stefan Drรผcke
It doesnโt always have to be complicated!โ๏ธ๐ก
For this intro scene of NEO TENIA (feature film concept) We only used 2 lights.
โ> Coverage with lots of wide angle shots challenged the lighting / or forced us to keep it simple, besides budged.
Exterior:
A 12K Maxi Brute/Dino or actually 10K for that shot because 2 bulbs went down (we shot this opener last)
and an Arri M40 HMI bulbed with a 2.5K globe for the front/ first bit of the dolly tracks (12K Dino extension) Through some 1/2 CTO and 1/2 CTS + 1/2 White Diff (LEE 250) to match the 12K tungsten.
interior: 12K Dino thru big window on easy lift (~6m) and 1K Baby to extend where the 12K couldnโt hit.
No more than a 4x4 solid floppy for the close up.
The final setup seams simple - which it is but planning was key to get the most bang for the buck and also for having the best fixture for this huge window.
I preferred the 12K over any HMI. Maximum we could do power-wise was M90 with a 6K globe. (We had 32A & 16A three-phase on location)
We were planning to go warmer in color temperature anyway, since we wanted a โlower-standing sunโ look - and tungsten is so cheap and โplug and playโ compared to HMIs. (this project was super low-budged)
So in the end, I just needed to figure out and calculate whether a 12K would be bright enough to overpower the ambient light.
With the help of @lightcalc.io I was able to quickly decide on what fixture would do the job.
Of course all of that was dependent on the type of weather. But I was going all-in on overcast ambience, based on weather forecast. Plus it was winter so I had high hopes.
Production: @focas.films
Writer/Director: @nils.castner
PM: @chrisduewel
DP:ย @_moritzforster
1st AC: @julian_gehrig
PD:ย Julius Castner
Set Designer:ย @wasnunjune
Costume Designer: @nastyaawwwwww
Gaffer: @primogaffer
Key Grip: Thomas Spitzbart
BBE:ย @erik_hellfeier
BBE:ย @niklasschraut
SLT:ย Matthes Rommel
SLT:ย @marius.krft
SLT:ย Julius Enczmannย
SLT:ย Christian Hauboldย ย
HMUA: @susi.retter ย
PA: @moritz.knoellinger
Prod Sound: @raphi_m_fits
Sound Design & Mix: Steve Wรผhr
Editor: Nils Castner
Colorist: @jared.film
Cast: @thienphuoc__nguyen @annaafiliz Stefan Drรผcke
It doesnโt always have to be complicated!โ๏ธ๐ก
For this intro scene of NEO TENIA (feature film concept) We only used 2 lights.
โ> Coverage with lots of wide angle shots challenged the lighting / or forced us to keep it simple, besides budged.
Exterior:
A 12K Maxi Brute/Dino or actually 10K for that shot because 2 bulbs went down (we shot this opener last)
and an Arri M40 HMI bulbed with a 2.5K globe for the front/ first bit of the dolly tracks (12K Dino extension) Through some 1/2 CTO and 1/2 CTS + 1/2 White Diff (LEE 250) to match the 12K tungsten.
interior: 12K Dino thru big window on easy lift (~6m) and 1K Baby to extend where the 12K couldnโt hit.
No more than a 4x4 solid floppy for the close up.
The final setup seams simple - which it is but planning was key to get the most bang for the buck and also for having the best fixture for this huge window.
I preferred the 12K over any HMI. Maximum we could do power-wise was M90 with a 6K globe. (We had 32A & 16A three-phase on location)
We were planning to go warmer in color temperature anyway, since we wanted a โlower-standing sunโ look - and tungsten is so cheap and โplug and playโ compared to HMIs. (this project was super low-budged)
So in the end, I just needed to figure out and calculate whether a 12K would be bright enough to overpower the ambient light.
With the help of @lightcalc.io I was able to quickly decide on what fixture would do the job.
Of course all of that was dependent on the type of weather. But I was going all-in on overcast ambience, based on weather forecast. Plus it was winter so I had high hopes.
Production: @focas.films
Writer/Director: @nils.castner
PM: @chrisduewel
DP:ย @_moritzforster
1st AC: @julian_gehrig
PD:ย Julius Castner
Set Designer:ย @wasnunjune
Costume Designer: @nastyaawwwwww
Gaffer: @primogaffer
Key Grip: Thomas Spitzbart
BBE:ย @erik_hellfeier
BBE:ย @niklasschraut
SLT:ย Matthes Rommel
SLT:ย @marius.krft
SLT:ย Julius Enczmannย
SLT:ย Christian Hauboldย ย
HMUA: @susi.retter ย
PA: @moritz.knoellinger
Prod Sound: @raphi_m_fits
Sound Design & Mix: Steve Wรผhr
Editor: Nils Castner
Colorist: @jared.film
Cast: @thienphuoc__nguyen @annaafiliz Stefan Drรผcke
You would want this for every project but for this tv-commercial in particular it was key to have consistent lighting. Meaning weather changes (sun, clouds, rain, snow) shouldnโt affect your lighting. Especially since this was shot in January.
Throughout the first day of production it was sunny, cloudy, rained and snowed towards wrap.
1) I was utilizing two @aputure.lighting LS 1200D/Storm 1200X into an 8x8 Ultrabounce to give consistent ambient levels through the sheers. Additionally a CRLS 50 #2 for some punch extension onto sheers on the side.
Sunny side of the 'sunroom' was blocked with solid /duvetyne as well as the top.
A @nanlux_global 2400B for the sunny punch also giving her a nice edge light, but with an open end art. silk in between to keep the hard light on the background but softer on her.
Two F22Cโs as a key+wrap on a D650 Junior Boom.
Infinibar PB12 as a light rim/background seperation.
Infinibar PB6 into a small bounce board to lift the package/box. And some more solid inside to kill the spill.
5+6) Bonus: Days are short in January. Keeping the lighting consistent for the โบoffice shotโน.
7+8) Night for Day with some morning sun (waking-up shot)
9)๐จ
Client: @liebscher.bracht
Production: @grizzmount + @grainlab.media
Talent: @diane.boedrich
Director: @kreativernickname
DP: @niko.sprl
AC: @paul.winning
Gaffer: @primogaffer
Spark: Martin Molenda
Set Decorator: Lars Werneke, Maike Schiffler
Ass. Set Decorator: Hanna
Composer+Sound Designer: @julian_m_michel
Editor+Colorist: @niko.sprl @grizzmount
You would want this for every project but for this tv-commercial in particular it was key to have consistent lighting. Meaning weather changes (sun, clouds, rain, snow) shouldnโt affect your lighting. Especially since this was shot in January.
Throughout the first day of production it was sunny, cloudy, rained and snowed towards wrap.
1) I was utilizing two @aputure.lighting LS 1200D/Storm 1200X into an 8x8 Ultrabounce to give consistent ambient levels through the sheers. Additionally a CRLS 50 #2 for some punch extension onto sheers on the side.
Sunny side of the 'sunroom' was blocked with solid /duvetyne as well as the top.
A @nanlux_global 2400B for the sunny punch also giving her a nice edge light, but with an open end art. silk in between to keep the hard light on the background but softer on her.
Two F22Cโs as a key+wrap on a D650 Junior Boom.
Infinibar PB12 as a light rim/background seperation.
Infinibar PB6 into a small bounce board to lift the package/box. And some more solid inside to kill the spill.
5+6) Bonus: Days are short in January. Keeping the lighting consistent for the โบoffice shotโน.
7+8) Night for Day with some morning sun (waking-up shot)
9)๐จ
Client: @liebscher.bracht
Production: @grizzmount + @grainlab.media
Talent: @diane.boedrich
Director: @kreativernickname
DP: @niko.sprl
AC: @paul.winning
Gaffer: @primogaffer
Spark: Martin Molenda
Set Decorator: Lars Werneke, Maike Schiffler
Ass. Set Decorator: Hanna
Composer+Sound Designer: @julian_m_michel
Editor+Colorist: @niko.sprl @grizzmount
You would want this for every project but for this tv-commercial in particular it was key to have consistent lighting. Meaning weather changes (sun, clouds, rain, snow) shouldnโt affect your lighting. Especially since this was shot in January.
Throughout the first day of production it was sunny, cloudy, rained and snowed towards wrap.
1) I was utilizing two @aputure.lighting LS 1200D/Storm 1200X into an 8x8 Ultrabounce to give consistent ambient levels through the sheers. Additionally a CRLS 50 #2 for some punch extension onto sheers on the side.
Sunny side of the 'sunroom' was blocked with solid /duvetyne as well as the top.
A @nanlux_global 2400B for the sunny punch also giving her a nice edge light, but with an open end art. silk in between to keep the hard light on the background but softer on her.
Two F22Cโs as a key+wrap on a D650 Junior Boom.
Infinibar PB12 as a light rim/background seperation.
Infinibar PB6 into a small bounce board to lift the package/box. And some more solid inside to kill the spill.
5+6) Bonus: Days are short in January. Keeping the lighting consistent for the โบoffice shotโน.
7+8) Night for Day with some morning sun (waking-up shot)
9)๐จ
Client: @liebscher.bracht
Production: @grizzmount + @grainlab.media
Talent: @diane.boedrich
Director: @kreativernickname
DP: @niko.sprl
AC: @paul.winning
Gaffer: @primogaffer
Spark: Martin Molenda
Set Decorator: Lars Werneke, Maike Schiffler
Ass. Set Decorator: Hanna
Composer+Sound Designer: @julian_m_michel
Editor+Colorist: @niko.sprl @grizzmount
You would want this for every project but for this tv-commercial in particular it was key to have consistent lighting. Meaning weather changes (sun, clouds, rain, snow) shouldnโt affect your lighting. Especially since this was shot in January.
Throughout the first day of production it was sunny, cloudy, rained and snowed towards wrap.
1) I was utilizing two @aputure.lighting LS 1200D/Storm 1200X into an 8x8 Ultrabounce to give consistent ambient levels through the sheers. Additionally a CRLS 50 #2 for some punch extension onto sheers on the side.
Sunny side of the 'sunroom' was blocked with solid /duvetyne as well as the top.
A @nanlux_global 2400B for the sunny punch also giving her a nice edge light, but with an open end art. silk in between to keep the hard light on the background but softer on her.
Two F22Cโs as a key+wrap on a D650 Junior Boom.
Infinibar PB12 as a light rim/background seperation.
Infinibar PB6 into a small bounce board to lift the package/box. And some more solid inside to kill the spill.
5+6) Bonus: Days are short in January. Keeping the lighting consistent for the โบoffice shotโน.
7+8) Night for Day with some morning sun (waking-up shot)
9)๐จ
Client: @liebscher.bracht
Production: @grizzmount + @grainlab.media
Talent: @diane.boedrich
Director: @kreativernickname
DP: @niko.sprl
AC: @paul.winning
Gaffer: @primogaffer
Spark: Martin Molenda
Set Decorator: Lars Werneke, Maike Schiffler
Ass. Set Decorator: Hanna
Composer+Sound Designer: @julian_m_michel
Editor+Colorist: @niko.sprl @grizzmount
You would want this for every project but for this tv-commercial in particular it was key to have consistent lighting. Meaning weather changes (sun, clouds, rain, snow) shouldnโt affect your lighting. Especially since this was shot in January.
Throughout the first day of production it was sunny, cloudy, rained and snowed towards wrap.
1) I was utilizing two @aputure.lighting LS 1200D/Storm 1200X into an 8x8 Ultrabounce to give consistent ambient levels through the sheers. Additionally a CRLS 50 #2 for some punch extension onto sheers on the side.
Sunny side of the 'sunroom' was blocked with solid /duvetyne as well as the top.
A @nanlux_global 2400B for the sunny punch also giving her a nice edge light, but with an open end art. silk in between to keep the hard light on the background but softer on her.
Two F22Cโs as a key+wrap on a D650 Junior Boom.
Infinibar PB12 as a light rim/background seperation.
Infinibar PB6 into a small bounce board to lift the package/box. And some more solid inside to kill the spill.
5+6) Bonus: Days are short in January. Keeping the lighting consistent for the โบoffice shotโน.
7+8) Night for Day with some morning sun (waking-up shot)
9)๐จ
Client: @liebscher.bracht
Production: @grizzmount + @grainlab.media
Talent: @diane.boedrich
Director: @kreativernickname
DP: @niko.sprl
AC: @paul.winning
Gaffer: @primogaffer
Spark: Martin Molenda
Set Decorator: Lars Werneke, Maike Schiffler
Ass. Set Decorator: Hanna
Composer+Sound Designer: @julian_m_michel
Editor+Colorist: @niko.sprl @grizzmount
You would want this for every project but for this tv-commercial in particular it was key to have consistent lighting. Meaning weather changes (sun, clouds, rain, snow) shouldnโt affect your lighting. Especially since this was shot in January.
Throughout the first day of production it was sunny, cloudy, rained and snowed towards wrap.
1) I was utilizing two @aputure.lighting LS 1200D/Storm 1200X into an 8x8 Ultrabounce to give consistent ambient levels through the sheers. Additionally a CRLS 50 #2 for some punch extension onto sheers on the side.
Sunny side of the 'sunroom' was blocked with solid /duvetyne as well as the top.
A @nanlux_global 2400B for the sunny punch also giving her a nice edge light, but with an open end art. silk in between to keep the hard light on the background but softer on her.
Two F22Cโs as a key+wrap on a D650 Junior Boom.
Infinibar PB12 as a light rim/background seperation.
Infinibar PB6 into a small bounce board to lift the package/box. And some more solid inside to kill the spill.
5+6) Bonus: Days are short in January. Keeping the lighting consistent for the โบoffice shotโน.
7+8) Night for Day with some morning sun (waking-up shot)
9)๐จ
Client: @liebscher.bracht
Production: @grizzmount + @grainlab.media
Talent: @diane.boedrich
Director: @kreativernickname
DP: @niko.sprl
AC: @paul.winning
Gaffer: @primogaffer
Spark: Martin Molenda
Set Decorator: Lars Werneke, Maike Schiffler
Ass. Set Decorator: Hanna
Composer+Sound Designer: @julian_m_michel
Editor+Colorist: @niko.sprl @grizzmount
You would want this for every project but for this tv-commercial in particular it was key to have consistent lighting. Meaning weather changes (sun, clouds, rain, snow) shouldnโt affect your lighting. Especially since this was shot in January.
Throughout the first day of production it was sunny, cloudy, rained and snowed towards wrap.
1) I was utilizing two @aputure.lighting LS 1200D/Storm 1200X into an 8x8 Ultrabounce to give consistent ambient levels through the sheers. Additionally a CRLS 50 #2 for some punch extension onto sheers on the side.
Sunny side of the 'sunroom' was blocked with solid /duvetyne as well as the top.
A @nanlux_global 2400B for the sunny punch also giving her a nice edge light, but with an open end art. silk in between to keep the hard light on the background but softer on her.
Two F22Cโs as a key+wrap on a D650 Junior Boom.
Infinibar PB12 as a light rim/background seperation.
Infinibar PB6 into a small bounce board to lift the package/box. And some more solid inside to kill the spill.
5+6) Bonus: Days are short in January. Keeping the lighting consistent for the โบoffice shotโน.
7+8) Night for Day with some morning sun (waking-up shot)
9)๐จ
Client: @liebscher.bracht
Production: @grizzmount + @grainlab.media
Talent: @diane.boedrich
Director: @kreativernickname
DP: @niko.sprl
AC: @paul.winning
Gaffer: @primogaffer
Spark: Martin Molenda
Set Decorator: Lars Werneke, Maike Schiffler
Ass. Set Decorator: Hanna
Composer+Sound Designer: @julian_m_michel
Editor+Colorist: @niko.sprl @grizzmount
You would want this for every project but for this tv-commercial in particular it was key to have consistent lighting. Meaning weather changes (sun, clouds, rain, snow) shouldnโt affect your lighting. Especially since this was shot in January.
Throughout the first day of production it was sunny, cloudy, rained and snowed towards wrap.
1) I was utilizing two @aputure.lighting LS 1200D/Storm 1200X into an 8x8 Ultrabounce to give consistent ambient levels through the sheers. Additionally a CRLS 50 #2 for some punch extension onto sheers on the side.
Sunny side of the 'sunroom' was blocked with solid /duvetyne as well as the top.
A @nanlux_global 2400B for the sunny punch also giving her a nice edge light, but with an open end art. silk in between to keep the hard light on the background but softer on her.
Two F22Cโs as a key+wrap on a D650 Junior Boom.
Infinibar PB12 as a light rim/background seperation.
Infinibar PB6 into a small bounce board to lift the package/box. And some more solid inside to kill the spill.
5+6) Bonus: Days are short in January. Keeping the lighting consistent for the โบoffice shotโน.
7+8) Night for Day with some morning sun (waking-up shot)
9)๐จ
Client: @liebscher.bracht
Production: @grizzmount + @grainlab.media
Talent: @diane.boedrich
Director: @kreativernickname
DP: @niko.sprl
AC: @paul.winning
Gaffer: @primogaffer
Spark: Martin Molenda
Set Decorator: Lars Werneke, Maike Schiffler
Ass. Set Decorator: Hanna
Composer+Sound Designer: @julian_m_michel
Editor+Colorist: @niko.sprl @grizzmount
You would want this for every project but for this tv-commercial in particular it was key to have consistent lighting. Meaning weather changes (sun, clouds, rain, snow) shouldnโt affect your lighting. Especially since this was shot in January.
Throughout the first day of production it was sunny, cloudy, rained and snowed towards wrap.
1) I was utilizing two @aputure.lighting LS 1200D/Storm 1200X into an 8x8 Ultrabounce to give consistent ambient levels through the sheers. Additionally a CRLS 50 #2 for some punch extension onto sheers on the side.
Sunny side of the 'sunroom' was blocked with solid /duvetyne as well as the top.
A @nanlux_global 2400B for the sunny punch also giving her a nice edge light, but with an open end art. silk in between to keep the hard light on the background but softer on her.
Two F22Cโs as a key+wrap on a D650 Junior Boom.
Infinibar PB12 as a light rim/background seperation.
Infinibar PB6 into a small bounce board to lift the package/box. And some more solid inside to kill the spill.
5+6) Bonus: Days are short in January. Keeping the lighting consistent for the โบoffice shotโน.
7+8) Night for Day with some morning sun (waking-up shot)
9)๐จ
Client: @liebscher.bracht
Production: @grizzmount + @grainlab.media
Talent: @diane.boedrich
Director: @kreativernickname
DP: @niko.sprl
AC: @paul.winning
Gaffer: @primogaffer
Spark: Martin Molenda
Set Decorator: Lars Werneke, Maike Schiffler
Ass. Set Decorator: Hanna
Composer+Sound Designer: @julian_m_michel
Editor+Colorist: @niko.sprl @grizzmount
Iโm a big fan of CRLS, but theyโre not always the best choice for lighting a scene. Iโve been guilty using them unnecessarily - overcomplicating a setup for only a minor improvement. Not with this one though.
The goal was to create sunlight, highlighting the girl during a pregnancy conflict counseling sessionโvisually reflecting the emotional weight of her decisionโwhile keeping the counselor more in shadow.
The scene was set in a raised ground floor office, and since the budget and logistics didnโt allow for a condor or big stands like a @Avenger Long John Silver (which wouldโve safely reached the height), we had to find another way.โจThatโs where the @thelightbridge C-100s came in - on wind-ups at about 4m, just reaching top window height. Keeping fixtures on floor stands and aiming them up, got us the right angle thanks to physics. Plus it kept the footprint of the setup narrow so we didnโt need to shut down the plaza.
The first window was used as our key: an @arri D25 paired with an @aputure.lighting 1200D. Both into a C-100 DIFF1, which combined and blurred them into one source - essentially doubling the output - and gave us a wider spread and beam angle (something you tend to lose when bouncing into a relatively small, distant square), while still packing enough punch.โจOn the other window we had roughly half the output - 2x @Arri D12 - same setup, pushing โsunlightโ through the background window.
From there, we only needed to shape the light for close-ups: some neg, and I think a ยผ White Diffusion to take the edge off on her coverage.โจFor the reverse, besides the natural bounce off a prop document on the desk, just a bounce board to wrap the light.
Slide 5+6: A โNight for Dayโ. Next time Iโll fix the double shadow though ๐ฅฒโจSlide 7: BonusโจSlide 8: DP with his signature angle
PMย @aberttvโจDIRย @xdreyโจADย @nils.castnerโจDPย @_moritzforsterโจACย @julian_gehrigโจCLTย @primogafferโจBBEย Juliusย EnczmannโจSoundย @yannik.horn
Matthew, AsherโจHMUย @marleyy.baeโจEditorย @xdreyโจColoristย @jared.film
Iโm a big fan of CRLS, but theyโre not always the best choice for lighting a scene. Iโve been guilty using them unnecessarily - overcomplicating a setup for only a minor improvement. Not with this one though.
The goal was to create sunlight, highlighting the girl during a pregnancy conflict counseling sessionโvisually reflecting the emotional weight of her decisionโwhile keeping the counselor more in shadow.
The scene was set in a raised ground floor office, and since the budget and logistics didnโt allow for a condor or big stands like a @Avenger Long John Silver (which wouldโve safely reached the height), we had to find another way.โจThatโs where the @thelightbridge C-100s came in - on wind-ups at about 4m, just reaching top window height. Keeping fixtures on floor stands and aiming them up, got us the right angle thanks to physics. Plus it kept the footprint of the setup narrow so we didnโt need to shut down the plaza.
The first window was used as our key: an @arri D25 paired with an @aputure.lighting 1200D. Both into a C-100 DIFF1, which combined and blurred them into one source - essentially doubling the output - and gave us a wider spread and beam angle (something you tend to lose when bouncing into a relatively small, distant square), while still packing enough punch.โจOn the other window we had roughly half the output - 2x @Arri D12 - same setup, pushing โsunlightโ through the background window.
From there, we only needed to shape the light for close-ups: some neg, and I think a ยผ White Diffusion to take the edge off on her coverage.โจFor the reverse, besides the natural bounce off a prop document on the desk, just a bounce board to wrap the light.
Slide 5+6: A โNight for Dayโ. Next time Iโll fix the double shadow though ๐ฅฒโจSlide 7: BonusโจSlide 8: DP with his signature angle
PMย @aberttvโจDIRย @xdreyโจADย @nils.castnerโจDPย @_moritzforsterโจACย @julian_gehrigโจCLTย @primogafferโจBBEย Juliusย EnczmannโจSoundย @yannik.horn
Matthew, AsherโจHMUย @marleyy.baeโจEditorย @xdreyโจColoristย @jared.film
Iโm a big fan of CRLS, but theyโre not always the best choice for lighting a scene. Iโve been guilty using them unnecessarily - overcomplicating a setup for only a minor improvement. Not with this one though.
The goal was to create sunlight, highlighting the girl during a pregnancy conflict counseling sessionโvisually reflecting the emotional weight of her decisionโwhile keeping the counselor more in shadow.
The scene was set in a raised ground floor office, and since the budget and logistics didnโt allow for a condor or big stands like a @Avenger Long John Silver (which wouldโve safely reached the height), we had to find another way.โจThatโs where the @thelightbridge C-100s came in - on wind-ups at about 4m, just reaching top window height. Keeping fixtures on floor stands and aiming them up, got us the right angle thanks to physics. Plus it kept the footprint of the setup narrow so we didnโt need to shut down the plaza.
The first window was used as our key: an @arri D25 paired with an @aputure.lighting 1200D. Both into a C-100 DIFF1, which combined and blurred them into one source - essentially doubling the output - and gave us a wider spread and beam angle (something you tend to lose when bouncing into a relatively small, distant square), while still packing enough punch.โจOn the other window we had roughly half the output - 2x @Arri D12 - same setup, pushing โsunlightโ through the background window.
From there, we only needed to shape the light for close-ups: some neg, and I think a ยผ White Diffusion to take the edge off on her coverage.โจFor the reverse, besides the natural bounce off a prop document on the desk, just a bounce board to wrap the light.
Slide 5+6: A โNight for Dayโ. Next time Iโll fix the double shadow though ๐ฅฒโจSlide 7: BonusโจSlide 8: DP with his signature angle
PMย @aberttvโจDIRย @xdreyโจADย @nils.castnerโจDPย @_moritzforsterโจACย @julian_gehrigโจCLTย @primogafferโจBBEย Juliusย EnczmannโจSoundย @yannik.horn
Matthew, AsherโจHMUย @marleyy.baeโจEditorย @xdreyโจColoristย @jared.film
Iโm a big fan of CRLS, but theyโre not always the best choice for lighting a scene. Iโve been guilty using them unnecessarily - overcomplicating a setup for only a minor improvement. Not with this one though.
The goal was to create sunlight, highlighting the girl during a pregnancy conflict counseling sessionโvisually reflecting the emotional weight of her decisionโwhile keeping the counselor more in shadow.
The scene was set in a raised ground floor office, and since the budget and logistics didnโt allow for a condor or big stands like a @Avenger Long John Silver (which wouldโve safely reached the height), we had to find another way.โจThatโs where the @thelightbridge C-100s came in - on wind-ups at about 4m, just reaching top window height. Keeping fixtures on floor stands and aiming them up, got us the right angle thanks to physics. Plus it kept the footprint of the setup narrow so we didnโt need to shut down the plaza.
The first window was used as our key: an @arri D25 paired with an @aputure.lighting 1200D. Both into a C-100 DIFF1, which combined and blurred them into one source - essentially doubling the output - and gave us a wider spread and beam angle (something you tend to lose when bouncing into a relatively small, distant square), while still packing enough punch.โจOn the other window we had roughly half the output - 2x @Arri D12 - same setup, pushing โsunlightโ through the background window.
From there, we only needed to shape the light for close-ups: some neg, and I think a ยผ White Diffusion to take the edge off on her coverage.โจFor the reverse, besides the natural bounce off a prop document on the desk, just a bounce board to wrap the light.
Slide 5+6: A โNight for Dayโ. Next time Iโll fix the double shadow though ๐ฅฒโจSlide 7: BonusโจSlide 8: DP with his signature angle
PMย @aberttvโจDIRย @xdreyโจADย @nils.castnerโจDPย @_moritzforsterโจACย @julian_gehrigโจCLTย @primogafferโจBBEย Juliusย EnczmannโจSoundย @yannik.horn
Matthew, AsherโจHMUย @marleyy.baeโจEditorย @xdreyโจColoristย @jared.film
Iโm a big fan of CRLS, but theyโre not always the best choice for lighting a scene. Iโve been guilty using them unnecessarily - overcomplicating a setup for only a minor improvement. Not with this one though.
The goal was to create sunlight, highlighting the girl during a pregnancy conflict counseling sessionโvisually reflecting the emotional weight of her decisionโwhile keeping the counselor more in shadow.
The scene was set in a raised ground floor office, and since the budget and logistics didnโt allow for a condor or big stands like a @Avenger Long John Silver (which wouldโve safely reached the height), we had to find another way.โจThatโs where the @thelightbridge C-100s came in - on wind-ups at about 4m, just reaching top window height. Keeping fixtures on floor stands and aiming them up, got us the right angle thanks to physics. Plus it kept the footprint of the setup narrow so we didnโt need to shut down the plaza.
The first window was used as our key: an @arri D25 paired with an @aputure.lighting 1200D. Both into a C-100 DIFF1, which combined and blurred them into one source - essentially doubling the output - and gave us a wider spread and beam angle (something you tend to lose when bouncing into a relatively small, distant square), while still packing enough punch.โจOn the other window we had roughly half the output - 2x @Arri D12 - same setup, pushing โsunlightโ through the background window.
From there, we only needed to shape the light for close-ups: some neg, and I think a ยผ White Diffusion to take the edge off on her coverage.โจFor the reverse, besides the natural bounce off a prop document on the desk, just a bounce board to wrap the light.
Slide 5+6: A โNight for Dayโ. Next time Iโll fix the double shadow though ๐ฅฒโจSlide 7: BonusโจSlide 8: DP with his signature angle
PMย @aberttvโจDIRย @xdreyโจADย @nils.castnerโจDPย @_moritzforsterโจACย @julian_gehrigโจCLTย @primogafferโจBBEย Juliusย EnczmannโจSoundย @yannik.horn
Matthew, AsherโจHMUย @marleyy.baeโจEditorย @xdreyโจColoristย @jared.film
Iโm a big fan of CRLS, but theyโre not always the best choice for lighting a scene. Iโve been guilty using them unnecessarily - overcomplicating a setup for only a minor improvement. Not with this one though.
The goal was to create sunlight, highlighting the girl during a pregnancy conflict counseling sessionโvisually reflecting the emotional weight of her decisionโwhile keeping the counselor more in shadow.
The scene was set in a raised ground floor office, and since the budget and logistics didnโt allow for a condor or big stands like a @Avenger Long John Silver (which wouldโve safely reached the height), we had to find another way.โจThatโs where the @thelightbridge C-100s came in - on wind-ups at about 4m, just reaching top window height. Keeping fixtures on floor stands and aiming them up, got us the right angle thanks to physics. Plus it kept the footprint of the setup narrow so we didnโt need to shut down the plaza.
The first window was used as our key: an @arri D25 paired with an @aputure.lighting 1200D. Both into a C-100 DIFF1, which combined and blurred them into one source - essentially doubling the output - and gave us a wider spread and beam angle (something you tend to lose when bouncing into a relatively small, distant square), while still packing enough punch.โจOn the other window we had roughly half the output - 2x @Arri D12 - same setup, pushing โsunlightโ through the background window.
From there, we only needed to shape the light for close-ups: some neg, and I think a ยผ White Diffusion to take the edge off on her coverage.โจFor the reverse, besides the natural bounce off a prop document on the desk, just a bounce board to wrap the light.
Slide 5+6: A โNight for Dayโ. Next time Iโll fix the double shadow though ๐ฅฒโจSlide 7: BonusโจSlide 8: DP with his signature angle
PMย @aberttvโจDIRย @xdreyโจADย @nils.castnerโจDPย @_moritzforsterโจACย @julian_gehrigโจCLTย @primogafferโจBBEย Juliusย EnczmannโจSoundย @yannik.horn
Matthew, AsherโจHMUย @marleyy.baeโจEditorย @xdreyโจColoristย @jared.film
Iโm a big fan of CRLS, but theyโre not always the best choice for lighting a scene. Iโve been guilty using them unnecessarily - overcomplicating a setup for only a minor improvement. Not with this one though.
The goal was to create sunlight, highlighting the girl during a pregnancy conflict counseling sessionโvisually reflecting the emotional weight of her decisionโwhile keeping the counselor more in shadow.
The scene was set in a raised ground floor office, and since the budget and logistics didnโt allow for a condor or big stands like a @Avenger Long John Silver (which wouldโve safely reached the height), we had to find another way.โจThatโs where the @thelightbridge C-100s came in - on wind-ups at about 4m, just reaching top window height. Keeping fixtures on floor stands and aiming them up, got us the right angle thanks to physics. Plus it kept the footprint of the setup narrow so we didnโt need to shut down the plaza.
The first window was used as our key: an @arri D25 paired with an @aputure.lighting 1200D. Both into a C-100 DIFF1, which combined and blurred them into one source - essentially doubling the output - and gave us a wider spread and beam angle (something you tend to lose when bouncing into a relatively small, distant square), while still packing enough punch.โจOn the other window we had roughly half the output - 2x @Arri D12 - same setup, pushing โsunlightโ through the background window.
From there, we only needed to shape the light for close-ups: some neg, and I think a ยผ White Diffusion to take the edge off on her coverage.โจFor the reverse, besides the natural bounce off a prop document on the desk, just a bounce board to wrap the light.
Slide 5+6: A โNight for Dayโ. Next time Iโll fix the double shadow though ๐ฅฒโจSlide 7: BonusโจSlide 8: DP with his signature angle
PMย @aberttvโจDIRย @xdreyโจADย @nils.castnerโจDPย @_moritzforsterโจACย @julian_gehrigโจCLTย @primogafferโจBBEย Juliusย EnczmannโจSoundย @yannik.horn
Matthew, AsherโจHMUย @marleyy.baeโจEditorย @xdreyโจColoristย @jared.film
Iโm a big fan of CRLS, but theyโre not always the best choice for lighting a scene. Iโve been guilty using them unnecessarily - overcomplicating a setup for only a minor improvement. Not with this one though.
The goal was to create sunlight, highlighting the girl during a pregnancy conflict counseling sessionโvisually reflecting the emotional weight of her decisionโwhile keeping the counselor more in shadow.
The scene was set in a raised ground floor office, and since the budget and logistics didnโt allow for a condor or big stands like a @Avenger Long John Silver (which wouldโve safely reached the height), we had to find another way.โจThatโs where the @thelightbridge C-100s came in - on wind-ups at about 4m, just reaching top window height. Keeping fixtures on floor stands and aiming them up, got us the right angle thanks to physics. Plus it kept the footprint of the setup narrow so we didnโt need to shut down the plaza.
The first window was used as our key: an @arri D25 paired with an @aputure.lighting 1200D. Both into a C-100 DIFF1, which combined and blurred them into one source - essentially doubling the output - and gave us a wider spread and beam angle (something you tend to lose when bouncing into a relatively small, distant square), while still packing enough punch.โจOn the other window we had roughly half the output - 2x @Arri D12 - same setup, pushing โsunlightโ through the background window.
From there, we only needed to shape the light for close-ups: some neg, and I think a ยผ White Diffusion to take the edge off on her coverage.โจFor the reverse, besides the natural bounce off a prop document on the desk, just a bounce board to wrap the light.
Slide 5+6: A โNight for Dayโ. Next time Iโll fix the double shadow though ๐ฅฒโจSlide 7: BonusโจSlide 8: DP with his signature angle
PMย @aberttvโจDIRย @xdreyโจADย @nils.castnerโจDPย @_moritzforsterโจACย @julian_gehrigโจCLTย @primogafferโจBBEย Juliusย EnczmannโจSoundย @yannik.horn
Matthew, AsherโจHMUย @marleyy.baeโจEditorย @xdreyโจColoristย @jared.film
Gaffer + Color ๐ก๐จ work for @levis (spec ad)
Leviโs - True Love Begins With An Old Jeans (Commercial)
// My favorite project of past year! Got to shoot in a to me very familiar area of Catalonia, Spain.๐
Stills and lighting set up of each, also including some behind the scenes photos. Some shots were nice and easy just lit with sun and bounces some others required to block the current sun to create our own lighting direction to be able to shoot in that tight schedule. On the last day (first 2 slides) it was raining. All in all the setups turned out exactly how Iโve had planned them. Just adapted to different blocking or weather conditions.
Let me know what you think of these breakdowns!
Director: Tom Ruckes @tom_rks
EP: Tom Ruckes & Delia Eifeler @tom_rks @deleeyuh
Production: @405curated
DP: Oscar Tiedge @oscartiedge
AC: Timm Biedermann @timm.biedermann
Gaffer: Jared Paul @primogaffer
Lighting Tech: Lorenz Sponholz @lorenzsponholz
Lighting Tech: Jan Ruckes @ruc.kes
PD: Delia Eifeler & Jan Ruckes @deleeyuh @ruc.kes
Sound Design & Mix: Jojo Grote @jojo_grote
Editor: Jay Benzler @jaybenzler
Colorist: Jared Paul @jared.film
VFX: Marlene Sandmann @marlenesndm
Hair & Makeup: Julia Waltner @juwa.makeupartist
Photography: Pau Recasens @pau_recasens
Rental: @napalmrentals
Gaffer + Color ๐ก๐จ work for @levis (spec ad)
Leviโs - True Love Begins With An Old Jeans (Commercial)
// My favorite project of past year! Got to shoot in a to me very familiar area of Catalonia, Spain.๐
Stills and lighting set up of each, also including some behind the scenes photos. Some shots were nice and easy just lit with sun and bounces some others required to block the current sun to create our own lighting direction to be able to shoot in that tight schedule. On the last day (first 2 slides) it was raining. All in all the setups turned out exactly how Iโve had planned them. Just adapted to different blocking or weather conditions.
Let me know what you think of these breakdowns!
Director: Tom Ruckes @tom_rks
EP: Tom Ruckes & Delia Eifeler @tom_rks @deleeyuh
Production: @405curated
DP: Oscar Tiedge @oscartiedge
AC: Timm Biedermann @timm.biedermann
Gaffer: Jared Paul @primogaffer
Lighting Tech: Lorenz Sponholz @lorenzsponholz
Lighting Tech: Jan Ruckes @ruc.kes
PD: Delia Eifeler & Jan Ruckes @deleeyuh @ruc.kes
Sound Design & Mix: Jojo Grote @jojo_grote
Editor: Jay Benzler @jaybenzler
Colorist: Jared Paul @jared.film
VFX: Marlene Sandmann @marlenesndm
Hair & Makeup: Julia Waltner @juwa.makeupartist
Photography: Pau Recasens @pau_recasens
Rental: @napalmrentals
Gaffer + Color ๐ก๐จ work for @levis (spec ad)
Leviโs - True Love Begins With An Old Jeans (Commercial)
// My favorite project of past year! Got to shoot in a to me very familiar area of Catalonia, Spain.๐
Stills and lighting set up of each, also including some behind the scenes photos. Some shots were nice and easy just lit with sun and bounces some others required to block the current sun to create our own lighting direction to be able to shoot in that tight schedule. On the last day (first 2 slides) it was raining. All in all the setups turned out exactly how Iโve had planned them. Just adapted to different blocking or weather conditions.
Let me know what you think of these breakdowns!
Director: Tom Ruckes @tom_rks
EP: Tom Ruckes & Delia Eifeler @tom_rks @deleeyuh
Production: @405curated
DP: Oscar Tiedge @oscartiedge
AC: Timm Biedermann @timm.biedermann
Gaffer: Jared Paul @primogaffer
Lighting Tech: Lorenz Sponholz @lorenzsponholz
Lighting Tech: Jan Ruckes @ruc.kes
PD: Delia Eifeler & Jan Ruckes @deleeyuh @ruc.kes
Sound Design & Mix: Jojo Grote @jojo_grote
Editor: Jay Benzler @jaybenzler
Colorist: Jared Paul @jared.film
VFX: Marlene Sandmann @marlenesndm
Hair & Makeup: Julia Waltner @juwa.makeupartist
Photography: Pau Recasens @pau_recasens
Rental: @napalmrentals
Gaffer + Color ๐ก๐จ work for @levis (spec ad)
Leviโs - True Love Begins With An Old Jeans (Commercial)
// My favorite project of past year! Got to shoot in a to me very familiar area of Catalonia, Spain.๐
Stills and lighting set up of each, also including some behind the scenes photos. Some shots were nice and easy just lit with sun and bounces some others required to block the current sun to create our own lighting direction to be able to shoot in that tight schedule. On the last day (first 2 slides) it was raining. All in all the setups turned out exactly how Iโve had planned them. Just adapted to different blocking or weather conditions.
Let me know what you think of these breakdowns!
Director: Tom Ruckes @tom_rks
EP: Tom Ruckes & Delia Eifeler @tom_rks @deleeyuh
Production: @405curated
DP: Oscar Tiedge @oscartiedge
AC: Timm Biedermann @timm.biedermann
Gaffer: Jared Paul @primogaffer
Lighting Tech: Lorenz Sponholz @lorenzsponholz
Lighting Tech: Jan Ruckes @ruc.kes
PD: Delia Eifeler & Jan Ruckes @deleeyuh @ruc.kes
Sound Design & Mix: Jojo Grote @jojo_grote
Editor: Jay Benzler @jaybenzler
Colorist: Jared Paul @jared.film
VFX: Marlene Sandmann @marlenesndm
Hair & Makeup: Julia Waltner @juwa.makeupartist
Photography: Pau Recasens @pau_recasens
Rental: @napalmrentals
Gaffer + Color ๐ก๐จ work for @levis (spec ad)
Leviโs - True Love Begins With An Old Jeans (Commercial)
// My favorite project of past year! Got to shoot in a to me very familiar area of Catalonia, Spain.๐
Stills and lighting set up of each, also including some behind the scenes photos. Some shots were nice and easy just lit with sun and bounces some others required to block the current sun to create our own lighting direction to be able to shoot in that tight schedule. On the last day (first 2 slides) it was raining. All in all the setups turned out exactly how Iโve had planned them. Just adapted to different blocking or weather conditions.
Let me know what you think of these breakdowns!
Director: Tom Ruckes @tom_rks
EP: Tom Ruckes & Delia Eifeler @tom_rks @deleeyuh
Production: @405curated
DP: Oscar Tiedge @oscartiedge
AC: Timm Biedermann @timm.biedermann
Gaffer: Jared Paul @primogaffer
Lighting Tech: Lorenz Sponholz @lorenzsponholz
Lighting Tech: Jan Ruckes @ruc.kes
PD: Delia Eifeler & Jan Ruckes @deleeyuh @ruc.kes
Sound Design & Mix: Jojo Grote @jojo_grote
Editor: Jay Benzler @jaybenzler
Colorist: Jared Paul @jared.film
VFX: Marlene Sandmann @marlenesndm
Hair & Makeup: Julia Waltner @juwa.makeupartist
Photography: Pau Recasens @pau_recasens
Rental: @napalmrentals
Gaffer + Color ๐ก๐จ work for @levis (spec ad)
Leviโs - True Love Begins With An Old Jeans (Commercial)
// My favorite project of past year! Got to shoot in a to me very familiar area of Catalonia, Spain.๐
Stills and lighting set up of each, also including some behind the scenes photos. Some shots were nice and easy just lit with sun and bounces some others required to block the current sun to create our own lighting direction to be able to shoot in that tight schedule. On the last day (first 2 slides) it was raining. All in all the setups turned out exactly how Iโve had planned them. Just adapted to different blocking or weather conditions.
Let me know what you think of these breakdowns!
Director: Tom Ruckes @tom_rks
EP: Tom Ruckes & Delia Eifeler @tom_rks @deleeyuh
Production: @405curated
DP: Oscar Tiedge @oscartiedge
AC: Timm Biedermann @timm.biedermann
Gaffer: Jared Paul @primogaffer
Lighting Tech: Lorenz Sponholz @lorenzsponholz
Lighting Tech: Jan Ruckes @ruc.kes
PD: Delia Eifeler & Jan Ruckes @deleeyuh @ruc.kes
Sound Design & Mix: Jojo Grote @jojo_grote
Editor: Jay Benzler @jaybenzler
Colorist: Jared Paul @jared.film
VFX: Marlene Sandmann @marlenesndm
Hair & Makeup: Julia Waltner @juwa.makeupartist
Photography: Pau Recasens @pau_recasens
Rental: @napalmrentals
Gaffer + Color ๐ก๐จ work for @levis (spec ad)
Leviโs - True Love Begins With An Old Jeans (Commercial)
// My favorite project of past year! Got to shoot in a to me very familiar area of Catalonia, Spain.๐
Stills and lighting set up of each, also including some behind the scenes photos. Some shots were nice and easy just lit with sun and bounces some others required to block the current sun to create our own lighting direction to be able to shoot in that tight schedule. On the last day (first 2 slides) it was raining. All in all the setups turned out exactly how Iโve had planned them. Just adapted to different blocking or weather conditions.
Let me know what you think of these breakdowns!
Director: Tom Ruckes @tom_rks
EP: Tom Ruckes & Delia Eifeler @tom_rks @deleeyuh
Production: @405curated
DP: Oscar Tiedge @oscartiedge
AC: Timm Biedermann @timm.biedermann
Gaffer: Jared Paul @primogaffer
Lighting Tech: Lorenz Sponholz @lorenzsponholz
Lighting Tech: Jan Ruckes @ruc.kes
PD: Delia Eifeler & Jan Ruckes @deleeyuh @ruc.kes
Sound Design & Mix: Jojo Grote @jojo_grote
Editor: Jay Benzler @jaybenzler
Colorist: Jared Paul @jared.film
VFX: Marlene Sandmann @marlenesndm
Hair & Makeup: Julia Waltner @juwa.makeupartist
Photography: Pau Recasens @pau_recasens
Rental: @napalmrentals
Gaffer + Color ๐ก๐จ work for @levis (spec ad)
Leviโs - True Love Begins With An Old Jeans (Commercial)
// My favorite project of past year! Got to shoot in a to me very familiar area of Catalonia, Spain.๐
Stills and lighting set up of each, also including some behind the scenes photos. Some shots were nice and easy just lit with sun and bounces some others required to block the current sun to create our own lighting direction to be able to shoot in that tight schedule. On the last day (first 2 slides) it was raining. All in all the setups turned out exactly how Iโve had planned them. Just adapted to different blocking or weather conditions.
Let me know what you think of these breakdowns!
Director: Tom Ruckes @tom_rks
EP: Tom Ruckes & Delia Eifeler @tom_rks @deleeyuh
Production: @405curated
DP: Oscar Tiedge @oscartiedge
AC: Timm Biedermann @timm.biedermann
Gaffer: Jared Paul @primogaffer
Lighting Tech: Lorenz Sponholz @lorenzsponholz
Lighting Tech: Jan Ruckes @ruc.kes
PD: Delia Eifeler & Jan Ruckes @deleeyuh @ruc.kes
Sound Design & Mix: Jojo Grote @jojo_grote
Editor: Jay Benzler @jaybenzler
Colorist: Jared Paul @jared.film
VFX: Marlene Sandmann @marlenesndm
Hair & Makeup: Julia Waltner @juwa.makeupartist
Photography: Pau Recasens @pau_recasens
Rental: @napalmrentals
Gaffer + Color ๐ก๐จ work for @levis (spec ad)
Leviโs - True Love Begins With An Old Jeans (Commercial)
// My favorite project of past year! Got to shoot in a to me very familiar area of Catalonia, Spain.๐
Stills and lighting set up of each, also including some behind the scenes photos. Some shots were nice and easy just lit with sun and bounces some others required to block the current sun to create our own lighting direction to be able to shoot in that tight schedule. On the last day (first 2 slides) it was raining. All in all the setups turned out exactly how Iโve had planned them. Just adapted to different blocking or weather conditions.
Let me know what you think of these breakdowns!
Director: Tom Ruckes @tom_rks
EP: Tom Ruckes & Delia Eifeler @tom_rks @deleeyuh
Production: @405curated
DP: Oscar Tiedge @oscartiedge
AC: Timm Biedermann @timm.biedermann
Gaffer: Jared Paul @primogaffer
Lighting Tech: Lorenz Sponholz @lorenzsponholz
Lighting Tech: Jan Ruckes @ruc.kes
PD: Delia Eifeler & Jan Ruckes @deleeyuh @ruc.kes
Sound Design & Mix: Jojo Grote @jojo_grote
Editor: Jay Benzler @jaybenzler
Colorist: Jared Paul @jared.film
VFX: Marlene Sandmann @marlenesndm
Hair & Makeup: Julia Waltner @juwa.makeupartist
Photography: Pau Recasens @pau_recasens
Rental: @napalmrentals
Gaffer + Color ๐ก๐จ work for @levis (spec ad)
Leviโs - True Love Begins With An Old Jeans (Commercial)
// My favorite project of past year! Got to shoot in a to me very familiar area of Catalonia, Spain.๐
Stills and lighting set up of each, also including some behind the scenes photos. Some shots were nice and easy just lit with sun and bounces some others required to block the current sun to create our own lighting direction to be able to shoot in that tight schedule. On the last day (first 2 slides) it was raining. All in all the setups turned out exactly how Iโve had planned them. Just adapted to different blocking or weather conditions.
Let me know what you think of these breakdowns!
Director: Tom Ruckes @tom_rks
EP: Tom Ruckes & Delia Eifeler @tom_rks @deleeyuh
Production: @405curated
DP: Oscar Tiedge @oscartiedge
AC: Timm Biedermann @timm.biedermann
Gaffer: Jared Paul @primogaffer
Lighting Tech: Lorenz Sponholz @lorenzsponholz
Lighting Tech: Jan Ruckes @ruc.kes
PD: Delia Eifeler & Jan Ruckes @deleeyuh @ruc.kes
Sound Design & Mix: Jojo Grote @jojo_grote
Editor: Jay Benzler @jaybenzler
Colorist: Jared Paul @jared.film
VFX: Marlene Sandmann @marlenesndm
Hair & Makeup: Julia Waltner @juwa.makeupartist
Photography: Pau Recasens @pau_recasens
Rental: @napalmrentals
Gaffer + Color ๐ก๐จ work for @levis (spec ad)
Leviโs - True Love Begins With An Old Jeans (Commercial)
// My favorite project of past year! Got to shoot in a to me very familiar area of Catalonia, Spain.๐
Stills and lighting set up of each, also including some behind the scenes photos. Some shots were nice and easy just lit with sun and bounces some others required to block the current sun to create our own lighting direction to be able to shoot in that tight schedule. On the last day (first 2 slides) it was raining. All in all the setups turned out exactly how Iโve had planned them. Just adapted to different blocking or weather conditions.
Let me know what you think of these breakdowns!
Director: Tom Ruckes @tom_rks
EP: Tom Ruckes & Delia Eifeler @tom_rks @deleeyuh
Production: @405curated
DP: Oscar Tiedge @oscartiedge
AC: Timm Biedermann @timm.biedermann
Gaffer: Jared Paul @primogaffer
Lighting Tech: Lorenz Sponholz @lorenzsponholz
Lighting Tech: Jan Ruckes @ruc.kes
PD: Delia Eifeler & Jan Ruckes @deleeyuh @ruc.kes
Sound Design & Mix: Jojo Grote @jojo_grote
Editor: Jay Benzler @jaybenzler
Colorist: Jared Paul @jared.film
VFX: Marlene Sandmann @marlenesndm
Hair & Makeup: Julia Waltner @juwa.makeupartist
Photography: Pau Recasens @pau_recasens
Rental: @napalmrentals
Gaffer + Color ๐ก๐จ work for @levis (spec ad)
Leviโs - True Love Begins With An Old Jeans (Commercial)
// My favorite project of past year! Got to shoot in a to me very familiar area of Catalonia, Spain.๐
Stills and lighting set up of each, also including some behind the scenes photos. Some shots were nice and easy just lit with sun and bounces some others required to block the current sun to create our own lighting direction to be able to shoot in that tight schedule. On the last day (first 2 slides) it was raining. All in all the setups turned out exactly how Iโve had planned them. Just adapted to different blocking or weather conditions.
Let me know what you think of these breakdowns!
Director: Tom Ruckes @tom_rks
EP: Tom Ruckes & Delia Eifeler @tom_rks @deleeyuh
Production: @405curated
DP: Oscar Tiedge @oscartiedge
AC: Timm Biedermann @timm.biedermann
Gaffer: Jared Paul @primogaffer
Lighting Tech: Lorenz Sponholz @lorenzsponholz
Lighting Tech: Jan Ruckes @ruc.kes
PD: Delia Eifeler & Jan Ruckes @deleeyuh @ruc.kes
Sound Design & Mix: Jojo Grote @jojo_grote
Editor: Jay Benzler @jaybenzler
Colorist: Jared Paul @jared.film
VFX: Marlene Sandmann @marlenesndm
Hair & Makeup: Julia Waltner @juwa.makeupartist
Photography: Pau Recasens @pau_recasens
Rental: @napalmrentals
Head over to YouTube to see how we did the lighting for this driving car scene! (link in bio) ๐๐กโก๏ธ
Passenger Princess: @desireekottwitz
Upset Driver: @isabelle.art.ffm
EP: @jared.film
Gaffer: @primogaffer
DP/Cam Op: @paul.pokes
Producer + HMU: @juwa.makeupartist
Lighting Tech: @timm.biedermann
Grip + BTS: @lucchevalierr
#gaffer #filmlighting #cinematography #nanlite #crls
Head over to YouTube to see how we did the lighting for this driving car scene! (link in bio) ๐๐กโก๏ธ
Passenger Princess: @desireekottwitz
Upset Driver: @isabelle.art.ffm
EP: @jared.film
Gaffer: @primogaffer
DP/Cam Op: @paul.pokes
Producer + HMU: @juwa.makeupartist
Lighting Tech: @timm.biedermann
Grip + BTS: @lucchevalierr
#gaffer #filmlighting #cinematography #nanlite #crls
Head over to YouTube to see how we did the lighting for this driving car scene! (link in bio) ๐๐กโก๏ธ
Passenger Princess: @desireekottwitz
Upset Driver: @isabelle.art.ffm
EP: @jared.film
Gaffer: @primogaffer
DP/Cam Op: @paul.pokes
Producer + HMU: @juwa.makeupartist
Lighting Tech: @timm.biedermann
Grip + BTS: @lucchevalierr
#gaffer #filmlighting #cinematography #nanlite #crls
Head over to YouTube to see how we did the lighting for this driving car scene! (link in bio) ๐๐กโก๏ธ
Passenger Princess: @desireekottwitz
Upset Driver: @isabelle.art.ffm
EP: @jared.film
Gaffer: @primogaffer
DP/Cam Op: @paul.pokes
Producer + HMU: @juwa.makeupartist
Lighting Tech: @timm.biedermann
Grip + BTS: @lucchevalierr
#gaffer #filmlighting #cinematography #nanlite #crls
Head over to YouTube to see how we did the lighting for this driving car scene! (link in bio) ๐๐กโก๏ธ
Passenger Princess: @desireekottwitz
Upset Driver: @isabelle.art.ffm
EP: @jared.film
Gaffer: @primogaffer
DP/Cam Op: @paul.pokes
Producer + HMU: @juwa.makeupartist
Lighting Tech: @timm.biedermann
Grip + BTS: @lucchevalierr
#gaffer #filmlighting #cinematography #nanlite #crls
Head over to YouTube to see how we did the lighting for this driving car scene! (link in bio) ๐๐กโก๏ธ
Passenger Princess: @desireekottwitz
Upset Driver: @isabelle.art.ffm
EP: @jared.film
Gaffer: @primogaffer
DP/Cam Op: @paul.pokes
Producer + HMU: @juwa.makeupartist
Lighting Tech: @timm.biedermann
Grip + BTS: @lucchevalierr
#gaffer #filmlighting #cinematography #nanlite #crls
๋น๋ฐ๋ฆฌ์ ์ธ์คํ๊ทธ๋จ ์คํ ๋ฆฌ ๋ณด๊ธฐ
์ธ์คํ๊ทธ๋จ ์คํ ๋ฆฌ ๋ทฐ์ด๋ ์ธ์คํ๊ทธ๋จ ์คํ ๋ฆฌ, ๋น๋์ค, ์ฌ์ง ๋๋ IGTV๋ฅผ ๋น๋ฐ๋ฆฌ์ ๋ณด๊ณ ์ ์ฅํ ์ ์๋ ๊ฐ๋จํ ๋๊ตฌ์ ๋๋ค. ์ด ์๋น์ค๋ฅผ ํตํด ์ฝํ ์ธ ๋ฅผ ๋ค์ด๋ก๋ํ๊ณ ์ธ์ ๋ ์ง ์คํ๋ผ์ธ์ผ๋ก ์ฆ๊ธธ ์ ์์ต๋๋ค. ์ธ์คํ๊ทธ๋จ์์ ๋์ค์ ํ์ธํ๊ณ ์ถ์ ํฅ๋ฏธ๋ก์ด ์ฝํ ์ธ ๋ฅผ ์ฐพ๊ฑฐ๋ ์ต๋ช ์ผ๋ก ์คํ ๋ฆฌ๋ฅผ ๋ณด๊ณ ์ถ๋ค๋ฉด, ์ฐ๋ฆฌ ๋ทฐ์ด๊ฐ ์ ํฉํฉ๋๋ค. Anonstories๋ ์ ์์ ์จ๊ธธ ์ ์๋ ํ๋ฅญํ ์๋ฃจ์ ์ ์ ๊ณตํฉ๋๋ค. ์ธ์คํ๊ทธ๋จ์ 2023๋ 8์์ ์คํ ๋ฆฌ ๊ธฐ๋ฅ์ ์ถ์ํ์ผ๋ฉฐ, ์ด ๊ธฐ๋ฅ์ ํฅ๋ฏธ๋กญ๊ณ ์๊ฐ์ ๋ฏผ๊ฐํ ํ์์ผ๋ก ๋น ๋ฅด๊ฒ ๋ค๋ฅธ ํ๋ซํผ์ ์ฑํ๋์์ต๋๋ค. ์คํ ๋ฆฌ๋ ์ฌ์ฉ์๊ฐ ํ ์คํธ, ์ด๋ชจ์ง ๋๋ ํํฐ๋ก ๋ณด๊ฐ๋ ์ฌ์ง, ๋น๋์ค ๋๋ ์ ์นด๋ฅผ ๊ณต์ ํ ์ ์๊ฒ ํด์ฃผ๋ฉฐ, 24์๊ฐ ๋์๋ง ํ์๋ฉ๋๋ค. ์ด ์ ํ๋ ์๊ฐ ๋์ ๋์ ์ฐธ์ฌ๋ฅผ ์ ๋ํ๋ฉฐ ์ผ๋ฐ ๊ฒ์๋ฌผ๋ณด๋ค ๋ ๋ง์ ๋ฐ์์ ์ป์ ์ ์์ต๋๋ค. ์ค๋๋ ์คํ ๋ฆฌ๋ ์์ ๋ฏธ๋์ด์์ ์ฐ๊ฒฐํ๊ณ ์ํตํ๋ ๊ฐ์ฅ ์ธ๊ธฐ ์๋ ๋ฐฉ๋ฒ ์ค ํ๋์ ๋๋ค. ๊ทธ๋ฌ๋ ์คํ ๋ฆฌ๋ฅผ ๋ณผ ๋, ์ ์์๋ ์์ ์ ๋ทฐ์ด ๋ชฉ๋ก์์ ๋น์ ์ ์ด๋ฆ์ ๋ณผ ์ ์์ผ๋ฉฐ, ์ด๋ ๊ฐ์ธ ์ ๋ณด ๋ณดํธ์ ๋ํ ์ฐ๋ ค๋ฅผ ์ผ์ผํฌ ์ ์์ต๋๋ค. ๋ง์ฝ ์คํ ๋ฆฌ๋ฅผ ์๋ฌด๋ ๋ชจ๋ฅด๊ฒ ํ์ํ๊ณ ์ถ๋ค๋ฉด? ๊ทธ๋ Anonstories๊ฐ ์ ์ฉํด์ง๋๋ค. ์ด ๋๊ตฌ๋ ์ ์์ ๋๋ฌ๋ด์ง ์๊ณ ๊ณต๊ฐ๋ ์ธ์คํ๊ทธ๋จ ์ฝํ ์ธ ๋ฅผ ๋ณผ ์ ์๊ฒ ํด์ค๋๋ค. ๊ด์ฌ ์๋ ํ๋กํ์ ์ฌ์ฉ์๋ช ์ ์ ๋ ฅํ๋ฉด ํด๋น ํ๋กํ์ ์ต์ ์คํ ๋ฆฌ๋ฅผ ํ์ธํ ์ ์์ต๋๋ค. Anonstories ๋ทฐ์ด์ ํน์ง: - ์ต๋ช ๋ธ๋ผ์ฐ์ง: ๋ทฐ์ด ๋ชฉ๋ก์ ๋ํ๋์ง ์๊ณ ์คํ ๋ฆฌ๋ฅผ ๋ณผ ์ ์์ต๋๋ค. - ๊ณ์ ํ์ ์์: ์ธ์คํ๊ทธ๋จ ๊ณ์ ์ ๊ฐ์ ํ์ง ์๊ณ ๊ณต๊ฐ ์ฝํ ์ธ ๋ฅผ ๋ณผ ์ ์์ต๋๋ค. - ์ฝํ ์ธ ๋ค์ด๋ก๋: ์คํ ๋ฆฌ ์ฝํ ์ธ ๋ฅผ ์ง์ ๋ค์ด๋ก๋ํ์ฌ ์คํ๋ผ์ธ์์ ์ฌ์ฉํ ์ ์์ต๋๋ค. - ํ์ด๋ผ์ดํธ ๋ณด๊ธฐ: 24์๊ฐ ์ ํ์ ๋์ด์ ์ธ์คํ๊ทธ๋จ ํ์ด๋ผ์ดํธ๋ฅผ ๋ณผ ์ ์์ต๋๋ค. - ๋ฆฌํฌ์คํธ ๋ชจ๋ํฐ๋ง: ๊ฐ์ธ ํ๋กํ์ ์คํ ๋ฆฌ ๋ฆฌํฌ์คํธ๋ ์ฐธ์ฌ๋๋ฅผ ์ถ์ ํ ์ ์์ต๋๋ค. ์ ํ ์ฌํญ: - ์ด ๋๊ตฌ๋ ๊ณต๊ฐ ๊ณ์ ์์๋ง ์๋ํ๋ฉฐ, ๊ฐ์ธ ๊ณ์ ์ ์ ๊ทผํ ์ ์์ต๋๋ค. ์ฅ์ : - ๊ฐ์ธ ์ ๋ณด ๋ณดํธ ์นํ์ : ์ธ์คํ๊ทธ๋จ ์ฝํ ์ธ ๋ฅผ ๋ณด๋ฉด์๋ ๋์ ๋์ง ์์ต๋๋ค. - ๊ฐ๋จํ๊ณ ์ฌ์: ์ฑ ์ค์น๋ ๋ฑ๋ก์ด ํ์ ์์ต๋๋ค. - ๋ ์ ๋๊ตฌ: ์ธ์คํ๊ทธ๋จ์์ ์ ๊ณตํ์ง ์๋ ๋ฐฉ์์ผ๋ก ์ฝํ ์ธ ๋ฅผ ๋ค์ด๋ก๋ํ๊ณ ๊ด๋ฆฌํ ์ ์์ต๋๋ค.
Anonstories์ ์ฅ์
์ธ์คํ๊ทธ๋จ ์คํ ๋ฆฌ ๋น๊ณต๊ฐ๋ก ํ์
์ธ์คํ๊ทธ๋จ ์ ๋ฐ์ดํธ๋ฅผ ๋น๋ฐ๋ฆฌ์ ์ถ์ ํ๊ณ ๊ฐ์ธ ์ ๋ณด๋ฅผ ๋ณดํธํ๋ฉฐ ์ต๋ช ์ผ๋ก ๋จ์ ์ ์์ต๋๋ค.
๊ฐ์ธ ์ธ์คํ๊ทธ๋จ ๋ทฐ์ด
๊ฐ์ธ ํ๋กํ ๋ทฐ์ด๋ฅผ ์ฌ์ฉํ์ฌ ์ฝ๊ฒ ํ๋กํ๊ณผ ์ฌ์ง์ ์ต๋ช ์ผ๋ก ๋ณผ ์ ์์ต๋๋ค.
๋ฌด๋ฃ ์คํ ๋ฆฌ ๋ทฐ์ด
์ด ๋ฌด๋ฃ ๋๊ตฌ๋ ์ธ์คํ๊ทธ๋จ ์คํ ๋ฆฌ๋ฅผ ์ต๋ช ์ผ๋ก ๋ณผ ์ ์๊ฒ ํด์ฃผ๋ฉฐ, ์คํ ๋ฆฌ ์ ๋ก๋์๊ฒ ํ๋์ ์จ๊ธธ ์ ์์ต๋๋ค.
์์ฃผ ๋ฌป๋ ์ง๋ฌธ
์ต๋ช ์ฑ
Anonstories๋ ์ฌ์ฉ์๊ฐ ์ธ์คํ๊ทธ๋จ ์คํ ๋ฆฌ๋ฅผ ๋ณผ ๋ ์ ์์์๊ฒ ์๋ฆผ์ ๋ณด๋ด์ง ์๋๋ก ํฉ๋๋ค.
๋๋ฐ์ด์ค ํธํ์ฑ
iOS, Android, Windows, macOS, Chrome, Safari์ ๊ฐ์ ์ต์ ๋ธ๋ผ์ฐ์ ์์ ์ํํ๊ฒ ์๋ํฉ๋๋ค.
์์ ์ฑ ๋ฐ ๊ฐ์ธ ์ ๋ณด ๋ณดํธ
๋ก๊ทธ์ธ ์ ๋ณด ์์ด ์์ ํ๊ณ ์ต๋ช ์ผ๋ก ๋ธ๋ผ์ฐ์งํ ์ ์์ต๋๋ค.
๋ฑ๋ก ํ์ ์์
์ฌ์ฉ์๋ ๊ฐ๋จํ ์ฌ์ฉ์๋ช ์ ์ ๋ ฅํ์ฌ ๊ณต๊ฐ๋ ์คํ ๋ฆฌ๋ฅผ ๋ณผ ์ ์์ต๋๋ค. ๊ณ์ ์ด ํ์ํ์ง ์์ต๋๋ค.
์ง์ ํ์
์ฌ์ง(JPEG)๊ณผ ๋น๋์ค(MP4)๋ฅผ ์ฝ๊ฒ ๋ค์ด๋ก๋ํฉ๋๋ค.
๋น์ฉ
์ด ์๋น์ค๋ ๋ฌด๋ฃ๋ก ์ ๊ณต๋ฉ๋๋ค.
๋น๊ณต๊ฐ ๊ณ์
๋น๊ณต๊ฐ ๊ณ์ ์ ์ฝํ ์ธ ๋ ํ๋ก์๋ง ์ ๊ทผํ ์ ์์ต๋๋ค.
ํ์ผ ์ฌ์ฉ
ํ์ผ์ ๊ฐ์ธ์ ๋๋ ๊ต์ก์ ์ฉ๋๋ก๋ง ์ฌ์ฉ ๊ฐ๋ฅํ๋ฉฐ ์ ์๊ถ ๊ท์ ์ ์ค์ํด์ผ ํฉ๋๋ค.
์๋ ๋ฐฉ์
๊ณต๊ฐ๋ ์ฌ์ฉ์๋ช ์ ์ ๋ ฅํ์ฌ ์คํ ๋ฆฌ๋ฅผ ๋ณด๊ฑฐ๋ ๋ค์ด๋ก๋ํ ์ ์์ต๋๋ค. ์๋น์ค๋ ์ฝํ ์ธ ๋ฅผ ๋ก์ปฌ์ ์ ์ฅํ ์ ์๋ ์ง์ ๋งํฌ๋ฅผ ์์ฑํฉ๋๋ค.