hello, I am new to making independent films, I made a live action short in my animation school and I have wanted to do more ever since. I have a grant almost completed except for a few technical items in my budget. I called a place that rents lights and what I thought would be a simple answer turned into a bombardment of 2k, 4k, 10k, and 20k lights. I would be shooting inside a barn, outside a barn, and inside a house for the majority of it(about equal day and night scenes). How many lights do you think I would need and what kind? Thanks.
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lighting
- Thread starter soothsayer
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I agree with Indietalk, and not because I'm a Director of Photography, but because I've worked on hundreds of films. If you're new to filmmaking, then you need cohorts. You need experts in there fields and that's where a DP and a gaffer will help you.
Lighting a barn could take $1000 or $20,000. There are tons of variables. Day? Night? Lots of wide shots? Slow motion (you need more light)? Etc....
Scott
Lighting a barn could take $1000 or $20,000. There are tons of variables. Day? Night? Lots of wide shots? Slow motion (you need more light)? Etc....
Scott
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I would be shooting on digital camera preferably. There are a decent amount of wide shots, I was thinking of getting six lights, which would cost about $6300 for a month of so. I would definately want some people who had made films before in specific roles of production, but with a grant it would probably not pay well. I think I could do with 6 lights, I am going for moody lighting as opposed to realistic lighting and can probably manouver the six lights according to the shot that is set up. What do you think?
I would be shooting on digital camera preferably. There are a decent amount of wide shots, I was thinking of getting six lights, which would cost about $6300 for a month of so. I would definately want some people who had made films before in specific roles of production, but with a grant it would probably not pay well. I think I could do with 6 lights, I am going for moody lighting as opposed to realistic lighting and can probably manouver the six lights according to the shot that is set up. What do you think?
It depends on what six lights you get. Six 500 watt Omni lights probably won't cut it. Six 10,000 watt lights would probably be overkill. There is no formula of number lights for a specfic set. You're not giving us a enough detail and asking bad questions which tells me you need to GET A PROFESSIONAL DIRECTOR OF PHOTOGRAPHY!!! I don't mean to trash you, but you sound like a very inexperienced person and you need a right hand man or woman to help you. When you're starting out you cannot do it all by yourself and the earlier you bring these experienced people on, the earlier you'll start learning.
Scott
Scott
Do you really need to rent the lights for a whole month? That seems excessive, but maybe it's just me.
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I do not feel trashed, I know I am inexperienced, one short film in school is not very much experience. I agree it would be a good idea to start looking for a DOP as soon as possible. To get someone experienced it would have to be someone who is doing it simply because they like my idea, as I don't have a grant yet and even if I get one the pay would be minimal. Which questions should I be asking?
I don't know any other way to rent them except for a month, the shoot how I have it organized now is around a month long(I was very liberal about giving myself enough time, in case big problems arise, which is likely)
I haven't got a grant yet, but I need to know it for my budget.
I do not feel trashed, I know I am inexperienced, one short film in school is not very much experience. I agree it would be a good idea to start looking for a DOP as soon as possible. To get someone experienced it would have to be someone who is doing it simply because they like my idea, as I don't have a grant yet and even if I get one the pay would be minimal. Which questions should I be asking?
I don't know any other way to rent them except for a month, the shoot how I have it organized now is around a month long(I was very liberal about giving myself enough time, in case big problems arise, which is likely)
I haven't got a grant yet, but I need to know it for my budget.
Just because you can't pay doesn't mean you can't find a good DP to help you. You should be up front about it not being a paying gig and be flexable with the potential DP's schedule. Next pitch your idea. If they like it and are free, they might be willing to do it just for the expirence or for fun. It never hurts to ask. The worst they can do is say no.
Check your local TV stations. I'd be willing to bet there are some videographers there that would be willing to work for free provided you can work around their schedule. If you lived in my town I'd do it.
Poke
Poke
How would I go about asking someone at a TV station? Could I be open about it or would I need to keep covert so no executives seen me snooping around?
Do you guys find one of the hardest parts of making a film working around everyone's schedules?
Do you guys find one of the hardest parts of making a film working around everyone's schedules?
I don't know if I would say one of the hardest parts.. but scheduling can be a challenge.
Working around people's schedules is tough. I would give yourself a big window of shooting time, find out when your DP can do it in that window and make your schedule around that.
For example you say "I want to shoot this in April sometime." Your potential DP says "I'm free the first week in April." So there is the time that you can shoot. Find as many other people as you can get to do that first week, even if they can't do the whole thing. Maybe you have one gaffer for the weekdays and another on the weekend.
For example you say "I want to shoot this in April sometime." Your potential DP says "I'm free the first week in April." So there is the time that you can shoot. Find as many other people as you can get to do that first week, even if they can't do the whole thing. Maybe you have one gaffer for the weekdays and another on the weekend.
soothsayer said:
Try your local cable station. Many of them have made deals and concessions with the city/community for the longterm contract to serve the area.
When I was in Upstate NY, Time-Warner was the provider. If you took the 8-hour course (spread over a few weeks) you gained access to free editing equipment, sound booths, camcorders, light kits, live-show timeslots, preferential timeslots for other programming and a bunch of other things. The 8-hour course included training on how to use all the gear.
It also meant you would be meeting a lot of local people with similar interests. Good times.
Now, your local cable provider may differ in what they offer (if anything) but it's worth checking out.
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Oh, and coordianting workable times with people can be hard yes... especially if they are working for zip.
All this advice is priceless, thanks.
Another thing I wonder is where the DOP's job stops and the director's begins. I ask this because I am not a terribly commanding person and am inexperienced. I want the DOP to have some personal expression in the film but I do not want to let my vision slip through my fingers.
Another thing I wonder is where the DOP's job stops and the director's begins. I ask this because I am not a terribly commanding person and am inexperienced. I want the DOP to have some personal expression in the film but I do not want to let my vision slip through my fingers.
Your best bet... in regards to the shooting and lighting aspect of the film, is to discuss your vision with the DP and see what he thinks would work the best to achieve that. He may also offer staging suggestions too, if you ask.
I think it has a lot to do with what you are shooting in... 16mm 35mm or DV..
keno can be a big help in shadows and as for the rest i would go with some 10k's..
hows that old saying go... you can never over light a set but you can under light a set or was it ther other way.. hmmmmm
keno can be a big help in shadows and as for the rest i would go with some 10k's..
hows that old saying go... you can never over light a set but you can under light a set or was it ther other way.. hmmmmm
Very true Will.. 
talk it over with your DOP he and the gafer can then run off and have some kraft and talk it over .....
talk it over with your DOP he and the gafer can then run off and have some kraft and talk it over .....This is a silly picky detail, but I just want to make sure. I've never heard of a Director of Photography abbreviated as a DOP, I've always heard it as DP. Is DOP a new thing?
When I was in film school I got so annoyed with film lingo, I swore I would never use it, but I've come to discover it's not an elitist thing; you just start doing it without realizing it. I even use the lingo when I talk to my family and I often find myself giving explanations with each word I accidentally use.
When I was in film school I got so annoyed with film lingo, I swore I would never use it, but I've come to discover it's not an elitist thing; you just start doing it without realizing it. I even use the lingo when I talk to my family and I often find myself giving explanations with each word I accidentally use.