Low Key Lighting – Cinematic Images

We had made it through Day 1.  We had made it on time and had gotten all the shots Grant was after.

Day 2 was going to be even tougher as we had 3 moves and about 20 set ups to get through.

We started in the hospital surgery.  When I initially saw the treatment this was the scene I was looking forward to the most.  I love my low key lighting and this was going to be a great opportunity.

Low Key Lighting: Shot #1 – The Dirty Wide

The first set up was the wide.  This shot didn’t make the 45 second version of the TVC but it did make the 15 second version.  A little bit tricky as we were limited on gear possibilities but we got there in the end.

Lighting/Modifiers: 1 x Kino 4×4 32ooK tubes w/216 Diff., 2 x Image 40 @ 3200K, 3 x Black Floppies

The Challenge: As I mentioned before we needed to keep the gear small as it all had to be wiped and sterilized before going in the hospital.  Other than that it was fairly straightforward for the Camera Dept.

The Solution (Short Version):  Jean & Tim hung the 4×4 Kino wrapped with 216 over the operating table using a jumbo pole cat.  The Image 40s were camera left bring up the wall and providing some edge light.

Low Key Lighting: Shot #2 – The Float

We moved on to the insert shot of the hands operating with the gear and sound playing in the background.

This shot was all about the handheld float from right to left bringing the numbers and machines into the frame.

Lighting/Modifiers: 1 x Kino 4×4 32ooK tubes w/216 Diff., 2 x Image 40 @ 3200K, 3 x Black Floppies, 1 x Single Net

The Challenge: The only challenge in this shot was making sure the viewers attention went to the numbers/machines. 

The Solution (Short Version):  Putting a small Single Net over the actor’s hands on the right created a nice in camera vignette.  I also cut two bulbs from the Kino 4×4 and took the Filtration down to .6.

Low Key Lighting: Shot #3 – The Screen

This shot was from roughly the same angle as Shot #2 but this was about the pull from the surgeon to the screens to introduce the audience to the action.

Again the float helped the frame feel a bit more human.

Lighting/Modifiers: 1 x Kino 4×4 32ooK tubes w/216 Diff., 2 x Image 40 @ 3200K, 3 x Black Floppies, 1 x Single Net

The Challenge: Getting the timing right with the float and the focus pull.   

The Solution (Short Version):  This was fairly straightforward.  The talented 1st AC Mr. Nigel Tomkinson nailed it.  Another example of working with the best you can find and letting them make you shine.  Thanks Nigel.

Low Key Lighting: Shot #4 – The Patient

The last shot to make the edit was a shot of the patient.  This angle required a few lighting changes but no new fixtures.  Simply reshuffling what we already had in place and making it a bit more flatteringly dark.

Reference Image:

Color Temp./ISO: 3200K/500 ISO
Lens: Arri Zeiss Master Prime 65mm @ T1.3
Filtration: IRND .9
FPS: 25fps

Lighting/Modifiers: 1 x Kino 4×4 32ooK tubes w/216 Diff., 2 x Image 40 @ 3200K, 3 x Black Floppies

The Challenge: Making it dark but bright enough for the commercial powers that be.

The Solution (Short Version):  Jean and Tom rigged the Image 40 that was edging the monitors in the previous shots to provide a nice 3/4 back light on the patient to edge out his forehead.

We also slid the whole bed down to get a more interesting out of focus area in the background and then lowered the table to shot straight across it.

Low Key Lighting: The Home Stretch

With the hospital scene wrapped we were now officially on the downhill.  We had two more scenes to knock out and then we were done and dusted.

Check back next time on the Cinematography Commercial Series for Lighting Through Windows.