How to light a Bar Scene - Cinematic Lighting
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- Опубліковано 29 вер 2024
- This breakdown focuses on how we lit a bar for an advert to get a friendly and warm cinematic look.
As there were quite a few wider shots and because we wanted to show lots of people I tried to light the whole space!
Shot mostly handheld with an @easyrig on URSA mini pro in Blackmagic Raw
Wide shots were 25mm Schnieder Xenon
Close shots are 50mm or 75mm
Lighting Package was -
1.2k HMI Fresnel + CTS
1.6k Broncolor open face HMI + CTS
800w tungsten open face
Manfrotto Lykos LED panel
Broncolor F160 LED in a 150 OCTOBOX
2mx2m Lastolite Skylite rapid frame with diffusion
1mx1m Lastolite Skylite Rapid Bounce
Two 4x4 Floppies
Some Small Flags
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This is a gold mine as always. Great content
Thanks 😁
you have a beautiful voice sir
What is "crunching down"? does this refer to grading? Thank you for sharing your knowledge!
Love the content and this particular setup, Dale! That wide shot really sells it and gives the production a much higher value feel rather than "just" closeups. Also, who doesn't love some sweet backlighting?
Thanks, backlit makes the world go round!
Did you have a shot list or did you have a general idea of what you wanted? I haven't really used HMI's in my work, but I look forward to using them more. Do you rent them or do you prefer to own them? This was great!
We had a rough outline of what we wanted, the couple walking in, being served, and then shots of lots of groups of people enjoying themselves. Specifics were tricky as we weren't sure how many people we'd have till the morning so I had to work out groupings and positions once I knew the numbers I had to play with. Once everyone was in place we could just work around the space trying to tick off the shots. Where we can we always try to have our equipment in house, means we can put it out on more shoots and the team get more experience with it and the possibility of doing fun spec projects with it. We don't have any really big HMIs in house though, but for this project it was all our in house kit.
This is gaffing gold! Thank you and subscribed!
🙌
This video was awesome. As a film student its great to see the techniques used to make a shot work. Is there a big difference in film quality between the URSA cameras and the BMPCC 6K cameras?
Would love to know what your white balance is set to and the reason behind your choice. Tungsten lights plus daylight white balance gives you this nice warm feel?
Sure - 6180 kelvin with +5 tint all set in the camera raw section in Davinci. The lights outside were HMI but had CTS to warm up, also I didn't touch on it here as I didn't want to confuse things but shooting through atmosphere/haze will warm up your lights as well.
Still Moving Thanks! So because you were shooting RAW you have the WB control in post and don’t need to worry so much on shoot.
Are there businesses that still make commercials without minorities?
Excellent video... now if you could just tell me how to light that scene for $100.
Hi Jerry, the close shots are definitely achievable with smaller fixtures at a lower cost. The wide is always going to be a challenge as a slightly daylight vibe. If you were shooting at night you could go with tungsten fixtures only, use the practicals and get a good vibe even on the wide. Tungsten would be cheap to hire and you could achieve something similar with 3 red heads and a couple of 1k fresnels... frames are another thing and have enough crew and grip to safely setup for those quantities of equipment!
Thanks for the info.
AMAZING!! Keep doing this and this channel will blow up. Insta subbed ! Can't thank you enough
Great comment about the smoke. We used to call it "wafting," and yes, at least one person has to be your point person to make sure it is consistent. It's also hard to keep it consistent when you're changing lenses. It's a wonderful effect, but it can be very tricky.
Well said, going to do an episode at some point looking at atmosphere, distance to subject and focal length.
@@StillMovingMedia Thanks. The other issue I always find is that your eyes become "used" to the smoke level after working in it for a time. Probably makes sense to fire off some stills or grab reference frames so you can go back and compare.
What was the budget on this and how many hrs spent at the bar. One more how elect & grip members
The we get link to the final video? Thanks.
Great content.
I prefer these long form than the short form.
Love these breakdowns. Keep `em coming!
Thanks! Will do!
Dude your content is awesome! One of the best or the best on youtube. I love the editing/grading, the attention to quality and the technical experience. This is awesome, you have a new subscriber for sure. Please keep them coming.
This lighting is appropriate for a commercial (for a bar or a brewer), but what I would like to see is the lighting setup for a seedy place that people go to get drunk.
Fascinating as always! Looking forward to the product shot video!
That was just amazing, incredible, awesome! Please do loads more of that :)
Nice job here. Thanks for taking the time to break it down.
Love this format and the details. Thanks
Great breakdown with a lot of useful tips! Made me curious. I will check out your channel. Did I miss it, did you mention what White Balance you used? The light is very warm, almost like sunset. You did not compensate to much in camera so that the skintones keep some of that warmth.
So everything was shot braw, I adjust white balance in Davinci. But definitely would have been pushing 6000+
this one was gooodd!!!
Such a great video, sir! Thank you for sharing those useful tips. The especially helpful one is about using harder sources on wide shots and softer on closeups.
Glad it was helpful!
Well done Dale, another great one 🙏🏾👍🏾
👊😁
Always love your videos!
Quick question: Do you always work in the ACES color space?
Hi Chaise, I'm currently working on moving the whole team over to it. Historically I haven't but I've been weighing up the benefits recently and using it on more projects to the point where I can see it would be helpful for the type and scale of projects we're working on.
The best video so far, thank you
Thanks 🙌
Wow, so much info, well explained. Thanks
Glad you enjoyed it!
Thank you
Man, this channel is great. I agree, lighting wide shots is a lot more rewarding in comparison to close ups. Thanks for this breakdown. Cheers!
Glad you enjoyed it, thanks for watching!
This guy is good.
Really amazing! So does it mean that you would leave the light setup for the wide, and then sweeten up the closeups with additional light/flags? If so, does this not throw the ratios off?
Basically yes, you do have to be mindful of your ratios. But in principle you can have the same ratio just with a softer source, and it is a very common cheat to have the harder sources that throw further for the wide and the soft for the close. If you use false colour then it’s just a case of making sure the colour across the face stays in the same range 👍🏻
Thank you so much for your reply @@StillMovingMedia! I only recently "discovered" the world of lighting, and the breakdowns you do are among the best! Please continue to do them :)It's very informative and educational!
🙌🏾✨🎉🎉🎉
Fantastic insights as always!
Alfred Pries Jensen thanks Alfred 😁
Great vid as usual guys. Love the more in-depth commentary. Regarding your fog machine could you advise which one you used and where they can be purchased? Thanks
Thanks, we've got as few which are a little bit old and nothing special! These very much fall into the smoke/fog machine 'DJ' category... For big commercial jobs with budget I'd hire in a dedicated hazer with more precise control and finer quality to the haze. On small setups we use Atmosphere in a can, but you'd need loads to do a room like this and it would cost a fortune.
Still Moving could you recommend any business that rent them out? I am struggling to find anywhere.
@@paulmartinvisuals I'd recommend finding somewhere near you that has something like a DF-50 or similar depending on the space you need to haze. Should be lots of hire companies near most big cities that do them. Mediadog have some hazers and there are lots around london and some bristol way.
Still Moving perfect, thanks so much for taking the time to respond. Very much appreciated!
What's white balance and then tint here? Around 7500 and 20? Thanks
Just checked and had it at 6180 kelvin with +5 tint in Resolve camera raw. But then there are some little adjustments in nodes as well.
Mann, don't give away gaffer secrets, but actually your content just ridiculously informative and natural. I'm here to steal your manifeso.
😅 Luckily the channel isn’t that big so no one is seeing the secrets!