Day Exteriors - Harsh Light (3 replies)
I was wondering what were your common practices when shooting high sun/harsh daylight scenes for NCFOM/True Grit/Shawshank?
I think I remember you saying you use very little in these scenarios, but I don't recall specifics. I noticed you typically have the sun backlighting talent. How often are you using neg fill or bounce or nothing at all? What scenarios did you feel you needed to use some bigger lights?
Thank you! And apologies if you've answered this before.
I'll try and link a few reference images below.
I think you will find other discussions about this topic already.
I try to keep my use of lamps to a minimum when I am shooting exteriors. However, sometimes it is necessary to use a lamp whether for matching purposes, to mimic sunlight on a shot when there is no sun, or to soften the contrast on a shot. More often I will use a large reflector and 'focus' it using natural light. I say 'focus' as the amount of light a reflector actually reflects is dependent to the angle that it is placed at relative to the sun. These reflectors could be frames of 20' x 20' holding either Ultrabounce or a muslin of some sort or they could be a simple bed-sheet, or series of bed-sheets, laid on the ground. Sometimes I will dye a bed-sheet a light blue, to accentuate the light that comes from a blue sky, or a warm orange, to match the light that is bouncing off a desert floor.
I usually use soft reflectors but I have also used Silver Stipple reflectors when it has been necessary to 'punch' light from a greater distance. These are occasions when I might well have used a lamp but to save time I have turned to a harder surfaced reflector.
Of the images you post I seem to remember only using a small reflector, probably an 8' x 8' unbleached muslin, on the shot of Josh Brolin and nothing on the other two set ups.