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Big sources really far away sounds like a good starting point. And then controlling the amount of fill to what feels natural and not too much.
Sometimes I see light situations on the street which look pretty unnatural and lit on a camera to me. for example: the sun hits a bright white wall very close to a subject giving a fill or even a key light from an angle which doesn’t feel natural. Or the sun hits a highly reflective glass surface very far away thereby creating a strong beam of reflected sunlight on a subject at an angle and intensity which feels “not right” – even if it is, by definition, happening naturally.
Thank you, Max A. I forgot to mention: The grain you see (and referred to) was added in post, because I wanted some kind of grain texture. But not the texture that the Sony FS7 delivers when you expose it to it’s base ISO in dark scenes. I think the image, once pulled in post from ISO2000 to ISO500, looked super super clean (almost to clean for me).
I think the thing with all these processes is that you can try everything as long as it works for you.
I’m now on a new journey of rating (and exposing) the Alexa sensor to ISO400 because my colorist tells me I’ll get one stop more latitude then (and therefore I’ll be able to get more contrast and richer colors). Let’s see…
(For me this is a very new way of thinking, because I tend to not focus on technical/grading/post processing things to much. But then when I force myself to deal with these topics I find myself growing in things like exposing and lighting my frames differently (better?).)
ps.: looks a bit too dark to me now in contrast to the white background of the website, would do differently now but it serves the purpose. still learning how to use fill light. I think in the cinema it looked good back then (because it was dark around the image).
(my original post was not finished and submitted too early)
I used the process that Stip describes on the Sony FS7. In CineEI-Mode the camera records with the native ISO of 2000. I usually rated it at 500, to get 2 stops overexposure. With the CineEI-mode the on-set monitors show the image at ISO500 then. In post i pulled it down two stops, thereby getting richer blacks with not too much noise. For me thats just a technical process (and really just an offset of your intended values – the ratios don‘t change with this process). So I would not consider that to be a creative process ie. it doesn‘t feel wrong to pull the image in post to the look I intended. I‘ll attach an image I shot a lighting exercise at university with this process. I hope it works.
