How do you light a scene like this?

[harmonica44]

https://www.google.com/search?q=day...3A%2F%2Fneiloseman.com%2F%3Fp%3D4118;1000;667

I like how they have daylight on one side, and tungsten light on the other. However, if I try do shoot a scene with an open window on one side, with sunlight pooring in, and tungsten light on the other side, the sunglight is much brighter. As you can see in the picture, the daylight is blue, but in order to expose tungsten light properly, you have to overexpose the daylight on the other side. This leads it to being pure white, rather than blue. Or if you expose the daylight properly, then the tungsten light is too dark of course.

How do you get both types of light at a similar amount of brightness, so one does not end up being overexposed? Thanks.

 

[David.rhsc]

How do you get both types of light at a similar amount of brightness, so one does not end up being overexposed? Thanks.

Either bring the daylight down to the same level as the tungsten, or bring up the tungsten to the brightness of the daylight.

Or both until that are at the levels you desire. The actual way to accomplish this will depend on your location, light kit, grip kit, and so on. The point is to balance the light levels until they are at your desired mix.

 

[baoliun]

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[harmonica44]

I read the color temperature part, this isn't about color temperature it's about exposure levels on each type of light. Even if I change the color temperature in anyway, both lights are just as bright. The site does not talk much about how to get one less brighter. No matter what the color temperature in the camera is, overexposed sunlight will always come out very bright white, no matter what. You cannot see color in light if the light is blown out. I have to figure out how to bring the sunlight down, and keep the tungsten light bright enough.

Can I put a gel or something in the window that will bring the sunglight down or something? I know I have to get both the same but I do not know how since I cannot find a tungsten light as bright as the sun, nor do I know how to bring the sunlight down with gel or some sort of window cover or something.

 

[baoliun]

Put ND,flag the light,increase intensity of the tungsten part,or don't use natural light at all and just gel one of the lights blue

 

[harmonica44]

Okay thanks. I thought I might use gels or daylight colored light. But I thought since I have sunglight coming through windows, I might as well make use of it. Otherwise if I want a window a scene, I have to wait until dark, and put a light outside and fake sunlight coming through, wouldn't I? What do you mean by 'flag the light'?

In that example page, provided the person explained how their was a window on the side of the woman, with sun coming in. So how was she/he able to make the sun the same exposure, if he used a window?

 

[baoliun]

Sun changes location throughout the day,so unless u have a very short sequence or pre planned eveything,it is best to control it to some degree and supplement with consistent lighting. And don't place subject under direct sunlight,you won't be able to outpower it.

By flagging,I mean reduce the amount of light coming from the window - i.e covering part of the window with black fabric

 

[harmonica44]

Okay thanks. I should have mentioned that I might want to show the window in the mastershot, but if it makes things to complicated, I can try to find a location where the window can remain off camera.

 

[David.rhsc]

In that example page, provided the person explained how their was a window on the side of the woman, with sun coming in. So how was she/he able to make the sun the same exposure, if he used a window?

Asked and answered. You have to control both light sources so that they are giving you the desired output. There are a plethora of methods for accomplishing this. ND, Rosco Scrim, a grip sandwich between the window and the talent (can't see the window though). Having your art director use thicker curtains, putting a set of blinds behind translucent decorative curtains. Take a 6x6 double and hang it outside over the window, then use thin curtains so that you cannot see the double. And that's just off the top of my head for an imaginary location.

Like I said, the physical approach you take will depend on the variables you face and the resources available to you - but the take away is that you have to be able to control the window and the light coming through it. I'm sorry to say, but you are not going to get a step-by-step answer. You'll have to take a battery of techniques in your mind and decide which ones will allow you to clear your hurdle.

 

[Not]

Color correction!!

 

[ChimpPhobiaFilms]

*color grading

 

[AcousticAl]

Why are you still asking rudimentary questions like this?

You have two sources of light that are drastically uneven. You have two choices: bring one up, or knock the other down.

1) On professional film sets/locations, they use really bright lights that can match the exposure of the sunlight coming in; or

2) They aren't above securing a massive sheet of ND gel on the outside of the window (where you can see through the window on camera).

I've ND'd windows many times. It can be a little dicey on windy days, but if you're crafty you can also rig the gel on the inside of the glass as long as you can hide the seams from the camera.

None of this should be a mystery to you at this point after countless threads about lighting, color temperature, etc.

The tools you should have at your disposal:
- ND gel, and lots of it.
- CTO and CTB gel, to match color temperatures.
- Flags, cutters, fingers and dots, and scrims to knock down hot spots.

And you don't just light once and go. No, lighting must be tailored for EVERY shot. Do you need to see the window? ND it. Window not in the shot? Black it out and fake it with lights, or put a scrim in front of the window.

Still didn't get it exactly right in production? Color correction is the next step, if needed.

 

[harmonica44]

Okay thanks. I don't need to see the window. I thought of ND gel before, but a lot of location owners are not cool with putting strange gels on the windows. I will try to find one that is for the future. I can also try using certain types of curtains as mentioned before. Thanks.