I really like the image created by the light outside the room in this shot, I think it creates a strong shape in the frame and noir style. My first question is how could this existing light be used or added to also light inside the room? Based on Jin’s entry this is how I imagine the lights outside of the room are already set:
I would place a dido or hard light outside of the room, closing the barn doors to try to reduce the spill, and use it to define the path that she would take into the room here:
I would also like to keep the white balance as it is currently set and use a blue gel on the dido to separate the spaces and use this colour difference to add to the tension in the scene. But maybe this tension would be better with a cool light for the key or fill so that her hair light is still warm, drawing her back outside. This would be an enhancement of the lighting effect in this shot:
I also wonder if this would require smoke or dust to be introduced so that the shape of the light has something to interact with.
Assuming that the action and line are scripted I wonder what motivates the key and the fill light to turn on. If she is talking to other people in the room, is it a surprise party and all the room lights suddenly turn on? Has she walked into a garage that she either shouldn’t be in or is her escape route and using two low lights create the effect of someone turning car headlights? I’m not sure if this would be done with didos or LED panels. This shot with the didos doesn’t quite seem to have the right shape and I think it might be too hard but this might be different if there was a second dido introduced:
The age of the car that is trying to be created would also be a factor in what type of light is used. From what I can see it seems like Fresnel lights would be the best to use for this effect for the shape of the beam of light that they create, and this design is also apparently used in the design of car headlights (Paar 2017).
The other consideration I would have is if there is a lamp or practical light in the frame that Jin could walk to and turn on. Perhaps there is coffee and pie underneath the light. But I imagine if this was the case, there would probably be a cut and the lighting would be changed to ensure that the coffee and pie is lit, and Jin has a three-point lighting set up with a key motivated by the lamp, a bounce board to add some soft fill and the exterior light adjusted for her hair light.
I think that this is a really clever set up given the blocking of the scene. I think that only two lights have been used and they’ve been set up like this:
What I really like about it is that Josh effectively has two key lights both set up with the camera on the fill side and his eye-line falling between the camera and key lights. The dido light that starts acting as a hair light for both Josh and Janine becomes his second key light when he turns to talk to Janine.
The LED light might actually be a bit too hot on Josh’s face and it looks like the brightness has been turned down in the next shot with Paul, however, the dimmer light falls off quicker and, as the key light for Janine, produces a flat light effect on her face. After watching this clip (Big League Film School n.d.), I wonder if moving LED the light closer to Paul and Janine, but reducing the brightness of the light further would produce more shadows across Janine’s face because of the ratio of object size to distance of light source has increased the percentage of light on Janine’s face.
Big League Film School n.d. ‘Lighting Technique – Distance of KeyLight for Cinematic Results’, Big League Film School, viewed on 2 June 2018, <http://bigleaguefilmschool.com/cinesummit-highlight-lightdistance/>.
Paar, M 2017, ‘Fresnel Lights: How They Work and Why They Should Be In Your Arsenal’, Videomaker Magazine, 8 August, viewed on 2 June 2018, <https://www.videomaker.com/article/c03/19113-fresnel-lights-how-they-work-and-why-they-should-be-in-your-arsenal>.