XYLØ - "Heaven only knows" - Lighting Plans
TECHNICAL SPECS:
COLOR
ASPECT RATIO 1.85:1
CAMERA: ARRI ALEXA MINI
LENSES: COOKE S4i, ELITE Mk IV Anamorphic
SOURCE FORMAT: 4K in 1.85:1 & 2.8K in 4:3 PRORES 4444
LIGHTING PACKAGE:
3x ARRI 2K OPEN FACES
4X ARRI 300W FRESNELS
2X SOURCE FOUR LEKO WITH 10º AND 26º LENSES
S-60 SKYPANEL
12x12 LIGHT GRID
8X8 SOLID
Theatre
Elite Mk IV Anamorphic 50mm
F-stop: 2.8
ISO: 800
WB: 4300K
Filtration: Black Pro Mist 1/4
For this scene, the director requested to have a spotlight effect. We used a Leko with a 10º lens to Key the singer. And to control the contrast, we had a Leko without a lens shooting into 250 Diffusion and unbleached muslin.
For the backlights, we used 300w fresnels with different-sized snoots - to create these beams of light visible on the still above. We had everything on dimmers except the Fill leko - that was at 100%, but two layers of diffusion did cut it down to a good level that worked for our look.
Most of this scene I shot with the 50mm Elite anamorphic cropped to 1.85:1 and the Cooke S4 65mm for some of the extreme close ups.
Elite Mk IV Anamorphic 50mm
F-stop: 2.8
ISO: 800
WB: 4300K
Filtration: Black Pro Mist 1/4
In this shot there is a Leko with a 10º lens positioned in the background. It was actually the only unit used for this scene. It was shooting into a piece of unbleached muslin positioned in front and to the side of the subjects. And we still had some of the 300w fresnels on the stage shooting through muslin - creating a very slight fill.
Elite Mk IV Anamorphic 50mm
F-stop: 2.8
ISO: 800
WB: 4300K
Filtration: Black Pro Mist 1/4
White Cyc Studio setups
Cooke S4 32mm
F-stop: 2.8 - 4 split
ISO: 800
WB: 3600K
Filtration: Low Contrast 1/2
These overhead shots were done with a pretty common rig for camera - Two stands, holding 2 pieces of 10' speedrail with Dana dolly bracket on each end. In the middle of the speedrail - Camera is rigged with a hi-hat and a ratched strap.
For lighting, we set up a 12x12 1/2 grid frame to the side of the subject, 3 2K open faces shooting through the frame. Then we added a Skypanel S-60 with a Chimera (1/4 grid) on a low boy stand. It was positioned close to subject's face adding a slightly harder light than a 12x12 was giving.
Then we positioned an 8x8 Solid on the oposite side from the 12x12 to prevent the white cyc from bouncing light back into the scene.
Cooke S4 65mm
F-stop: 2.8 - 4 split
ISO: 800
WB: 3600K
Filtration: Low Contrast 1/2
This setup was quite similar to the previous one. the 12x12 frame was in the same place. but the 3 2K open faces moved from shot to shot to create slightly different direction of the key. And we added a dimmable Leko with a 26º lens to backlight the subject. And to control the spill we used the V-flat with its black side facing the subject. Without it, the white cyc would bounce back a lot of light and we would get a lot less contrast.
Cooke S4 32mm
F-stop: 2 - 2.8 split
ISO: 800
WB: 3600K
Filtration: Low Contrast 1/2
Cooke S4 65mm
F-stop: 2 - 2.8 split
ISO: 800
WB: 3600K
Filtration: Low Contrast 1/2
Cooke S4 65mm
F-stop: 2 - 2.8 split
ISO: 800
WB: 3600K
Filtration: Low Contrast 1/2
Makeup room
This was a pretty minimal lighting setup. We put 60W bulbs into the sockets on the mirror - creating this warm and soft key light. And we backlit with the S-60 balanced to 7000K -0.15G. To sell the daylight softness, we added an 8x8 grid and a chimera on the skypanel. Finally, to cut the orange spill of the background, we positioned a 4x4 floppy right outside of frame.
Elite Mk IV Anamorphic 50mm
F-stop: 2.8
ISO: 200
WB: 3600K
Filtration: Black Pro Mist 1/4