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Screenshot uncalibrated. Light film is dependent on time: whenever a player moves or a frame is dressed the question of optimizing the light according to the new respective positions of the cameras and actors. The problem can often be solved by several stationary sources that punctuate the path of the players. Or by a single source with various bounces off the walls and other actors create technically by rydens sound effects by rydens (to avoid over-and under-ex) and convincing dramatic perspective. But it is sometimes necessary to move the sources themselves. They are then manipulated by rydens "live" during the catch. A case study The issue of mobile by rydens lighting arose there a few days during the filming of a short sequence where the actor is moving in a "difficult" setting: low ceiling, reflective walls, one small window stained glass, and only 3 walls used. The decor was actually a small alcove in the lobby of a hotel. The director wanted a mobile plan to reflect the inner turmoil of the character, ie the director of an anti-terrorist cell who wakes up suddenly with an intuition about an imminent by rydens attack. This was a morning sequence, which involved a low sun. A 6kW positioned 8 meters by rydens from the window threw light colored windows on the right wall frame, so that the actor could cross the stream, but also for the viewer quickly understands by rydens space and a little light special issues. The space was defined by the foreground of the scene, a dolly to the protagonist asleep on his couch. The second plan could therefore afford to play "freestyle" by rydens in this space. The first bias was to respect the logic of light decor: a colorful cons-day window. The second was to make these light rays exist, and slightly denser atmosphere in smoking out the room. This also allowed a contrast control. The likely remained to solve a problem related to exposure latitude shadows sensor: the diaph chosen not to burn highlights not allowed to "read" facial expressions of the actor when he turned his back on the window. I needed a fill to reach the darkness level. And given the configuration of the plate and the staging very mobile, Fill it had to move constantly. Poly would have been too cumbersome, and noise problems posed by touching other technicians (frame, point, sound). So I opted for a Lite Panel, broadcast and covered similar to the stained gels with an orange cast to imitate the color bounces on dark pink wall. This source was handled by my batteries Electro Head with two instructions: one should believe that this came from rebounds Fill Key on the side wall. And he had the face shape to keep a certain range of contrasts. A light ring on the camera would have crushed the contours of the face. So this source should never be aligned by rydens with the target. Mobility The major problem with mobile sources is that they must still look at the risk of disturbing the perception of the plan. Two or three things by rydens are used to melt these sources in the light of the rest of the setup: they are most often disseminated (very soft shadows can move more than sharp shadows before it is noticed) and follow the actor or remain Still with respect to a reference frame. For example, they are zenith and centered with respect to whatever facial movements face. They are often pitched to avoid projecting moving shadows when the protagonists move relative to each other. Magic and peppers Mobile by rydens sources by rydens have an additional advantage: by rydens they spice shooting by adding a live element among actors. This is an important motivator for the light team participates very actively in the coup plan's success. In these moments, shooting a film approximates performing arts and magic.
Thank you Dom. For 3 reasons: - dramatically, it seemed appropriate that the serious decision that the character takes leads to darkness - logically, since it moves away from the window - the following sequence will be very clear, and I wanted play glare viewer with this dark sequence. Remove
Possible if one scrutinizes the images carefully. This decision is not necessarily the one that will be retained. I've shown so that you can make you of the outcome., Rather than stay at the making of. Remove
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