lighting What's the best lights for this effect?

[harmonica44]

I was asked to direct a short film by some actors who want to make their script, and I want to light it bright for deep focus, so I don't have to pull focus while moving the camera, and doing other things.

Right now I have 500 watt halogen lights, and was going to get 1000 watt ones, and maybe put four on two stands, for a key light, and fill light and perhaps some other kind of light as a back light.

I want to use tungsten colored lights, cause I think they produce the best skin tones, which a lot of filmmakers seem to agree on.

But those lights are very hot, and the actors I have worked with before, would actually be bothered by the heat. Is their a better tungsten light I could be using for the same price or no?

Thanks.

 

[jax_rox]

Yeah I know. I just haven't figured out the compromise since I have to move the camera on a steadicam, and run a boom pole during the static shots. I thought a good compromise would be lighting for deep DOF.

But I will find a compromise. Perhaps for the static shots, I will shoot as deep as possible and hope no one goes out of focus while I am booming. Then for the steadicam shots, I will just do my best to pull focus while operating the steadicam, even though I am not suppose to. But that's the compromise.

Just don't use the Steadicam?

If your story's not good enough to hold it's own simply using static shots, then is it really worth telling, even with Steadicam shots?

In the real world of film, Steadicam shots need a minimum of two people - the Steadiop and a Focus Puller, who is pulling remotely using a wireless FIZ, and usually there's a wireless video split for the Director and/or Client.

Filmmaking takes collaboration and working with a lot of people - get some friends to help you. This is just another film, and t he sooner you make it, the sooner you can move on and make the next one. Make films, move on and learn from the experience. You could spend a year trying to figure out how to light your shots so that you don't need to pull focus, or you could spend a year making films, honing your craft, and practising pulling focus..

 

[harmonica44]

I don't need the steadicam shots, but I have been told by people that I do not have enough camera movement in my scenes, and I need to work on it. So I thought I would.

 

[WalterB]

Well the mic has to be aimed at the mouth for the sound to pick up on axis. Otherwise I wouldn't need a boom op. Thank for the idea. It's a good idea in theory, but the director tried that, on the feature I acted in only to have the sound come out really bad, since the mic is hidden and not pointed at the actors directly, or close enough to follow them while moving.

....................

Stay away from ADR: it will only drain time and energy from everyone.

With a boom you still get closer than without boom, so even if it's not really on axis, it's better than on camera.

If DOF is a problem: keep movement parallel to the focal plane as much as possible.
Don't boom and leave the camera unwatched: I thought you should have learned that from your first project: keep watching!

Solution: rent more lights and a Sony EX1R/PMW-200.
Less DOF (with the lense wide and F stop at 1.9 it still has a deep focus, but the more you zoom, the smaller it gets), great image (IMO, when using Colorprofiles), zebras, peaking, easier to focus pull.
You just need more light.

I shot this with my EX1R:
http://www.youtube.com/watch?v=zggWPjo2Iww
(And never pulled focus on any shot No time for it anyway... that's why we didn't go for a DSLR or C300.
From script to completion was 2,5 weeks.)

 

[harmonica44]

Okay thanks. . The rental store cannot give me one of those Sony cameras in time though, as they are all booked up for the month.

Also there is no one to hold the boom, so if I have to be behind the camera, I cannot do both. I would ask my friends, but they are already acting in it. I can get an actor to hold the boom, when it's not his or her turn to be on screen. But during the mastershots, they will all have to be and ADR will have to done for those shots unfortunately. I will try my best to capture it live though. Actors also hate it when other actors take the boom though, cause that means they have to act to a mark instead of each other.

But I'm going to think positive like I was told to before on here. I need to believe, that I can do it. And then hopefully, they will have no problem with it, cause of how I am.