So, this is my first real blog post. I have been terrible at keeping up to date with posting work I've done, anything I'm working on, things I'm learning... but I'm going to try my best to use this forum to share things I'm doing and some of the techniques and tricks I'm picking up along the way. I'll also be sharing anything I see around the internet that I find really informative, and could help out anybody already in the field or looking to get into it. So, let's get right into it. To kick things off, I'll post a shot from my latest upcoming film that I wrote, produced and directed, called "The Good Fight".
Here's a shot that I particularly like:
In order to achieve this, my fantastic DoP, Ryan Lewis, blasted a 1K Arri (I honestly can't remember if it was an open face or Fresnel, but I'm inclined to say Fresnel) through the window with a full blue gel, and we bounced a 650 watt Arri with a full orange gel into a bounce that was camera right, and had our grip John Zanardelli shake the bounce card to simulate the light of the fire from the fire place as our motivated light, being cast by the motivating light of the lit fireplace practical. If I'm not mistaken, those two lights lit the entire scene. We MAY have had another 650 Arri with a full orange bouncing off the ceiling to bring up the ambient light of the fire, but I truly cannot remember. But sometimes, the simplest setups can lead to some of the most beautiful lighting, like this:
SIDE NOTE: The Fireplace was right next to the bed. From this picture, it would be directly to the right of the headboard on that wall and directly in front of Carter Bratton, playing "Will", who is sitting down.
I love how the two colors collide and play in the same space together without mixing and becoming a muddy color. The blue falls where it needs to in order to really push the moonlight look, and the orange from the fireplace really casts a warm, comfortable glow on the actors. The colors are much more subdued in the actual film, but these behind the scenes still really help to show what I'm talking about. We tried really hard to go for a very naturalistic look, and I think we really achieved this by not throwing too many lights on everything, and just really keeping it simple.
Next time, I'll talk about how we lit the porch scene, and how invaluable a $20 purchase at IKEA was to just about every single shoot I've done in the past year.