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If you have another idea please can you let me know. Given the camera had to move across two tables and between characters we could think of no alternative to a Technocrane. Well, we could have rigged the camera on a wire, which was my first thought, but this might have been even more complicated.
I was using a series of bare 250 watt bulbs mounted on some circular aluminum strips that I had made up for this purpose. I would surely think that there is a simple LED alternative in this situation. For instance, I wrapped some ribbon strip around a circular tube to construct a small soft multi-directional source which would work quite well to augment a firelight source. The advantage of the quartz bulbs was that they could be dimmed down to a matching color temperature and, being more resistant to heat, they can be placed quite close in to a real fire.
Yes, the Spacelights were gelled with a 1/2 blue and some of the Blondes carried a 1/4 blue. Given the diffusion warmed the light the resulting color was just a little cool, which made sense to me as the camera was set at 3,200K. The lower 2K lamps were a mixture of 1/4 blue and clean. I’m not sure why you are confused about the shot you post as this would have been lit by the pattern of Blondes projected through the diffusion.
I would love to visit Rio again. My first experience of the city was during the 1977/78 Whitbread Round the World yacht race. We made it to Rio on the first day of carnival having sailed from New Zealand via Cape Horn.
That is good advice. The job is stressful and it must be stressful. I find the job only becomes ever more so as you try for a perfection that is unattainable.
Allow others to feel involved in your process even if, in the end, you make all the decisions. Create a quiet and welcoming place for the actors. Without them you have nothing.
Sorry, I thought I had posted an answer already. Glitches I guess!
The main source lighting the center of the road would have been a 10K Fresnel, probably with a 5K to each side of it, rigged on an articulated crane arm. I like to use a multiple of lights as this gives a slight softness to the shadow. The lamps would have had 013 straw as well as 1/2 CTO on them. The two 5K lamps would have either been dimmed down or the intensity taken down with scrims (wires). The backgrounds were probably lit using 5K, 2K Fresnel lamps or/and 2K Blondes and these would have been on high stands.
I would generally use an HMI outside during the day. I don’t remember blacking out the back window but I may have cut some of the light from that direction with a sold set away from the window. I also remember that the sun came out while we were shooting some tight shots so I had the car surrounded with solids.
I can’t imagine a 2K being effective. It also seems you might need to control the natural light so that it does not overwhelm any source you use. I would expect to use an Arri Max for this kind of effect or, at least a powerful HMI Par.
If the fire on the characters is animate does it need more than a little interactive firelight hitting the areas on which they are sitting? I would suggest the main issue will be the flicker of the firelight and syncing that between what light is in camera and the 2D animation.
I think there is some confusion between fall-off and the size of a light source. They are not connected. The fall-off of light from a source follows the inverse square law. How soft that light is on the subject is governed by the size of the source relative to that subject. That is simple geometry.
I suspect that the bounce was warming the HMI a little, so I doubt I used any CTO gel. Had there been a warm practical in the kitchen I might have warmed the lamp and shot without an 85 or EF filter on the camera.
I have only done some limited day for night shooting and that was in a forest in Kenya. I did use some artificial lighting to pull the character away from the background but I wouldn’t say it necessary I think that depends on whether it is sunny or cloudy or if the foliage is particularly dense.
There was a bounce source in front of the car to add a little more contrast to the natural light. Yes, the scene changes from rain to snow and this was achieved by our effects team, in camera, using cranes, rain bars and ‘snow’ blowers. We wanted some flexibility in scheduling these shooting days because we needed, at the very least, cloud cover. The problem was the road closure, which allowed us only two specific weekends to work over. We got lucky in that it rained on our first day and remained cloudy through the next morning.
