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How did you light this Shot from the Goldfinch (14 replies and 8 comments)

leandroimaz
1 month ago
leandroimaz 1 month ago

Hi Roger 

I am wondering how did you light this shot from the Goldfinch. 

Specially I would like to know what kind of HMI did you use  and what kind of diffusion in the window.

Thank you so much. 

Leo

https://www.rogerdeakins.com/wp-content/uploads/2021/01/Captura-de-pantalla-2020-08-19-a-las-15.14.57.png
leandroimaz
1 month ago
leandroimaz 1 month ago

And also I would like to know about this shot from Prisoners. 

Thank you so much. 

Leo

https://www.rogerdeakins.com/wp-content/uploads/2018/07/prisoners.jpg
Roger Deakins
1 month ago
Roger Deakins 1 month ago

Both shots were lit using a large bounce source outside the window. The shot from 'Goldfinch' was made at a house that I had, basically, tented with Ultrabounce. I think I was using 12K HMIs to light the bounce and I added a light diffusion to the window. The shot from 'Prisoners' was also made on location and the bounce in this case was lit using 4K HMI Fresnels.

leandroimaz
1 month ago

Thank you so much Roger. If you tented and use the ultrabounce that cut the sunlight light even more it is possible to get that kind of look with smaller units ? For example only a 4K or a 2K ? In the case of prisoner did you use only one 4K HMI Fresnel or more?

Gregg
1 month ago
Gregg 1 month ago

Dear Roger,

I know you normally use a "hampshire frost" on windows, presumably here too.

What do you like about the additional light diffusion on the windows that the hampshire gives? Why are you trying to bring the light source a little "closer"? 

Many thanks

Gregg

Roger Deakins
1 month ago
Roger Deakins 1 month ago

I would have been using something slightly heavier than a Hampshire in these instances. The reason I use a larger lamp/s is because the bounce is quite far from the window and I need that much punch. Don't forget the inverse square law. If the source is too close to the window the fall off will be severe.

MNMike
1 month ago

Hi Roger, I'm wondering if I could tag on an additional question to these specific examples you are talking about. I'd like to ask you about your metering technique for these two similar shots. I know you have talked about lighting to monitors and your eye, so I'm not sure if you are using light meters anymore. However, if we were to pretend you shot these on film and had to rely on metering (and your eye), how would you take meter reading for these type of back lit sources? Would you use a spot meter on the window and open up 2-3 stops vs and incident meter held to the characters with the sensor toward the camera, and then close down the the appropriate stop. Or some mix of both? Thank you very much, Roger!

Roger Deakins
1 month ago
Roger Deakins 1 month ago

I still carry a Gossen meter and I do use it regularly. I would probably have taken an incident reading of the wall to the right or left of frame. That would have given me an idea of the base stop, between the silhouette and the highlight.

MNMike
1 month ago

Cheers Roger, all the best!

fukuichi
1 month ago
fukuichi 1 month ago

Hello everyone.please tell me. Which is the Ultra Bounce tented? Does it mean sticking home and bounce together?

https://www.rogerdeakins.com/wp-content/uploads/2021/01/2021-01-22-8.27.53.png
Roger Deakins
1 month ago
Roger Deakins 1 month ago

I was doing something like your first drawing, using a 20' x 20' reflector and leaning it against the wall above the window. We were in a two story building so the 'tent' was, in effect, further from the window. It is also pretty simple to pipe out a horizontal section and close the gap, if you need the angled reflector further from the window, as in your second drawing.

fukuichi
1 month ago

Master Roger I understand. Thank you for telling me the details.

Gregg
1 month ago
Gregg 1 month ago

Dear Roger, 

Sorry, but I wasn't very clear with the following, "What do you like about the additional light diffusion on the windows that the hampshire gives? Why are you trying to bring the light source a little "closer"? "

What I meant about bringing the source "closer", was that the new diffusion that you are putting on the window now becomes partly the light source.  Sure, the light from the 12K bounce is still where it was and you are controlling the fall-off by having this relatively further away.  The additional soft diffusion on the window acts as a new softer source, plus a little of the 12k bounce light still pushing through deeper into the room.

When you put extra light diffusion on the window, what effect are you trying to achieve?  Is it to just to soften the light a little more?  Does it affect the highlights more?  I was just wondering.

Many thanks

Gregg

 

 

 

Roger Deakins
1 month ago
Roger Deakins 1 month ago

All of those points apply. The added diffusion brings the light a little more 'into' the room, depending on the density you use, and it also softens the overall effect.

Gregg
1 month ago

Great, thank you very much.

Roger Deakins
1 month ago
Roger Deakins 1 month ago

Yes! It spreads it a little. The main source is still the bounce and that controls the fall-off unless the diffusion is so heavy that it alone becomes the source.

MichaelBachinger
1 month ago

At which strength becomes the diffusion the source? At 250 diffusion or does it have to be even stronger, like 216?
There are a lot of different diffusiontypes, it becomes quite overwhelming to be honest.

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