Sebastian Wiegärtner, BVK
In Instagram

People of #Pi 43. Two cameras are sometimes a compromise, especially when you are shooting a wide shot and a medium shot at the same time. This scene was lit with a Dedo Panaura 5 from the top left, which itensifies the tungsten practical on the same direction. On the top right side I placed a hard tungsten backlight as a kicker. It was hard to place some fill in the room, because there are huge windows with reflections in the background. For the exterior we used a 12KW Dinolight, otherwise it would be pitch black. I’m not a fan of a “blue” moon, sometimes as a color contrast in the background, but most of the time I’m using tungsten lights for Night Shots and setting the camera to 2800K kelvin. It creates some kind of neutral steel blue look, which is very natural to the human eye. #featurefilm

People of #Pi 43. Two cameras are sometimes a compromise, especially when you are shooting a wide shot and a medium shot at the same time. This scene was lit with a Dedo Panaura 5 from the top left, which itensifies the tungsten practical on the same direction. On the top right side I placed a hard tungsten backlight as a kicker. It was hard to place some fill in the room, because there are huge windows with reflections in the background. For the exterior we used a 12KW Dinolight, otherwise it would be pitch black. I’m not a fan of a “blue” moon, sometimes as a color contrast in the background, but most of the time I’m using tungsten lights for Night Shots and setting the camera to 2800K kelvin. It creates some kind of neutral steel blue look, which is very natural to the human eye. #featurefilm

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Sebastian Wiegärtner, BVK
In Instagram

People of #Pi 42. This was some kind of schedule on this particular shooting day. We had three of those scenes in this room and two another exterior scenes. In summary we shot 7 to 8 minutes on this day, which is quite a lot, so I had to keep it simple. Two dining room scenes Day for Night and another one Day Interior. Two cameras, six actors and each actor also needs a close up. I lit this whole scene with two softlights, moving from place to place for several shots, like a close up or a two shot. I frosted the chandelier and also used black wrap to shape the light coming from the ceiling. Otherwise the light is bouncing everywhere in the room and you are not getting the interesting contrast for the shot. I used the Panaura 5 with a grid for the keylight source and a Rifa Light for some fill. It’s so simple. On this shot the Panaura was on the right side on a dimmer. All tungsten. If you have questions, please ask. #featurefilm

People of #Pi 42. This was some kind of schedule on this particular shooting day. We had three of those scenes in this room and two another exterior scenes. In summary we shot 7 to 8 minutes on this day, which is quite a lot, so I had to keep it simple. Two dining room scenes Day for Night and another one Day Interior. Two cameras, six actors and each actor also needs a close up. I lit this whole scene with two softlights, moving from place to place for several shots, like a close up or a two shot. I frosted the chandelier and also used black wrap to shape the light coming from the ceiling. Otherwise the light is bouncing everywhere in the room and you are not getting the interesting contrast for the shot. I used the Panaura 5 with a grid for the keylight source and a Rifa Light for some fill. It’s so simple. On this shot the Panaura was on the right side on a dimmer. All tungsten. If you have questions, please ask. #featurefilm

Continue Reading