Opinions on Beginner Techniques

Ezra

Ezra

I start filming my first feature film in 3 weeks, and I have some questions about the techniques I feel like using.

Since there's a small production budget, I was thinking to get 4 $10 500-Watt work lamps.
*If I were to use these, would it be good for a consumer-grade camcorder?
*Should I somehow diffuse the lighting?
*Would a light on each corner of the set be good for lighting a conference room set?
*How could I adjust a light to shine on only a certain space?
I also have a couple questions about cameras
*Would a Kodak Zi6 be decent for filming when combined with good lighting?
*How can fast movements of the camera be done without shakiness, without spending a lot of money?

I will be glad if all my questions could be answered. I may post more as they come to mind.
 
Sort by date Sort by votes
You absolutely want to use diffusion on the lights, no matter what they are, but especially if they are work lamps, although I don't recommend those without special light bulbs that are tungsten balanced.

You can pick up diffusion at any camera store with a salt. Those a C47's (clothespins) will make your day. You can also shape the lights by buying some black foil (black tin foil) also at a camera store.

Those are your cheapo solutions.
 
Upvote 0 Downvote
Id practice lighting and filming NOW. A light in each corner isnt going to work like you think it will, it might be cool, but you should at least have an IDEA what it will be like. For example, if you have a light in each corner, you will very likely see a light fixture IN THE FRAME from any angle, unless you avoid framing the corners of the room..

Moret typical will be to put two lights(close enough to be one big light) in front and to one side of the tallent (call it the KEY), and one light on the other side (call that the Fill) and one behind and above shining on the hair (call that a separation or Kicker ).

Check this link ..
http://www.webster.edu/acadaffairs/asp/mediacenter/Film/equipment manuals/ArriLightHandbk.pdf

Is the conference room a REAL conference room or a set? If its real, and typical, it will likely have several principle (the lights all ready in the room) that are tungsten or maybe florescent. This will cause you to have difficulty finding the right WHITE BALANCE.. be sure to MANUALLY set the white balance on your camera. What ever light is falling on the FACE of the talent (actors) is what your most concerned with. If its an office with big windows, then the KEY light will be the windows (if day time) etc..
 
Upvote 0 Downvote
Uncle Bob is going to be a nag again...

What are you doing about sound? What gear do you have and how do you intend to take advantage of it? Have you read my blog on production sound here on IndieTalk?

Just so you understand, a short (10 or fewer minutes) can get away with passable sound. On a feature you must hold an audiences attention for 75+ minutes and they will not tolerate even mediocre sound for that length of time. The smaller your budget the more attention you must pay to capturing the best production sound you possibly can - and get dialog wilds, sound FX & Foley wilds and, most especially, room tones; build a huge library.

If you pay attention to your production sound it can pay off big time later. Great production sound means fewer problems in audio post, something especially important for DIY filmmakers who don't have the audio knowledge or access to the high end audio toys. You're going to spend hours composing shots, spend a few minutes accommodating the idea of capturing quality sound.
 
Upvote 0 Downvote
you will very likely see a light fixture IN THE FRAME from any angle, unless you avoid framing the corners of the room..
Click to expand...

I wouldn't have my lights so low in a studio, and the conference room is a set.

zi6? Don't expect much for $75.
Click to expand...

Correction: it costs $180. And it will not be the only camera

What are you doing about sound? What gear do you have and how do you intend to take advantage of it? Have you read my blog on production sound here on IndieTalk?
Click to expand...

I can record sound separately. I have a Realistic cardioid dynamic microphone, along with a Realistic stereo sound mixer. It's likely I can't do this the way I'd like since I don't have a laptop or any portable sound recorder. Also, I don't yet know how to keep the sound in sync. (I know I should get a slate)
 
Last edited:
Upvote 0 Downvote
Ezra said:
I wouldn't have my lights so low, and the conference room is a set.



Correction: it costs $180. And it will not be the only camera



I can record sound separately. I have a Realistic cardioid dynamic microphone, along with a Realistic stereo sound mixer. It's likely I can't do this the way I'd like since I don't have a laptop or any portable sound recorder. Also, I don't yet know how to keep the sound in sync. (I know I should get a slate)
Click to expand...

http://www.amazon.com/Kodak-Zi6-Pocket-Camcorder-Pink/dp/B001FWC2YE
 
Upvote 0 Downvote
sonnyboo said:
You absolutely want to use diffusion on the lights, no matter what they are, but especially if they are work lamps, although I don't recommend those without special light bulbs that are tungsten balanced.

You can pick up diffusion at any camera store with a salt. Those a C47's (clothespins) will make your day. You can also shape the lights by buying some black foil (black tin foil) also at a camera store.

Those are your cheapo solutions.
Click to expand...

This is what I was talking about:
080083534340lg.jpg


So far I haven't found any tungsten bulbs for this type.
 
Last edited:
Upvote 0 Downvote
Ezra said:
Did you look closer?
Click to expand...

So your going to pay TWICE what any body here can get it for? 'cmon man, were trying to help, but you really don't sound like you want help, just approval. So here ya go.

Go for it, I'm sure it will be great! You certainly will have fun and learn a lot. And actually making a movie is more than Iv done. So your the man!
 
Upvote 0 Downvote
I don't know exactly what you're lighting, but four 500W worklights probably wouldn't be my first choice for interiors. You need a bigger variety of lights. Those worklights pump out a lot of light but they're very hard to control, and it's difficult to mount gels and diffusion on them.

I'd suggest maybe getting two worklights (one on a stand as a key, one on a clamp to get high up and use as a kicker), a couple of paper lanterns with bulbs and cords to use as fill, and maybe some smaller lights to add interest and use as eyelights.

Exactly what you get will depend on your budget, but I don't think four worlights will be very easy to work with or produce the result you want (unless all you want is a lot of very bright but uncontrollable light).
 
Upvote 0 Downvote
Ezra said:
I can record sound separately. I have a Realistic cardioid dynamic microphone, along with a Realistic stereo sound mixer. It's likely I can't do this the way I'd like since I don't have a laptop or any portable sound recorder. Also, I don't yet know how to keep the sound in sync. (I know I should get a slate)
Click to expand...

I give up..............
 
Upvote 0 Downvote
wheatgrinder said:
So your going to pay TWICE what any body here can get it for? 'cmon man, were trying to help, but you really don't sound like you want help, just approval. So here ya go.

Go for it, I'm sure it will be great! You certainly will have fun and learn a lot. And actually making a movie is more than Iv done. So your the man!
Click to expand...

I already have the camera
 
Upvote 0 Downvote
Those pocket cameras have no shallow depth of field, no manual controls and nothing besides digital zoom, so your image will have to be entirely created with lights and set. You can't count on your camera to do anything besides capture what's in front of it. And it will do that well enough, but it would behoove you to make sure what's in front of your camera is gorgeous. I would suggest a crash course in cinematic lighting and lots of trial and error. Let us see your results, too.
 
Upvote 0 Downvote
My Bad EZRA, I concluded that your camera was coming out of the budget.. sorry bout that..

UraniumCity is right. you are in WHAT YOU SEE IS WHAT YOU GET land. So make it LOOK right before you turn on the camera.. DO NOT HAND HOLD that camera, every shot on a tripod.
 
Upvote 0 Downvote
DO NOT HAND HOLD that camera, every shot on a tripod.
Click to expand...

Yes, I was about to edit my answer to include this info but I'll just reiterate. Those pocket cameras are impossible to hold anywhere near steady. The only way to get a decent shot without putting them on a tripod is by attaching a 2.5 pound weight on a pole underneath and then practicing your moves for two or three months. But your best bet is to lock down each shot on a tripod.
 
Last edited:
Upvote 0 Downvote
Don't worry, I have one. But money comes out of the budget to buy a tripod for Camera 2. And UC, I'll try with the lighting, but I still don't have the lights.

I think only one question still remains:
How can I do fast camera movements without shakiness? (Specifically, the camera won't be stating in the same spot)
 
Upvote 0 Downvote
You see, there is a chase scene in the movie. The camera will be moving to several angles, to increase the action. At the same time, the camera will have to stay ahead of the two small vehicles being used.
 
Upvote 0 Downvote
You must log in or register to reply here.
Back
Top