advice of light measuring

[LAmind]

I'm about to begin shooting a short film where there will be a scene in which there is a spotlight on the subject. It will be outside before dark (at the "magic hour"). Also there will be some at complete night with just the spotlight. I'm also gonna be using a yellow or red filter. I was wondering what would be the most acurate way to get a light reading. I was thinking of using a 18% grey card.I'm gonna do a test roll first on Tri-X, so i wanted to get some suggestions.

I'm also not sure if i wanna use Plus-X or Tri-X yet. I think i'll end up using Tri-x because i want some white objects to have a little overlit feel. The only problem is there'll be a white wall behind the subject which i don't want to be too bright, that's why i need an accurate light reading. Any help or advice is appreciated.

-Ivan

<font color="#a62a2a" size="1">[ March 30, 2003 03:50 AM: Message edited by: LAmind ]</font>

[Alex]

One of the most important things to do when lighting you actor is determine how much more illuminated your actor will be than the actor's surroundings.

One way, (but not the only way) is to take a spot/reflective reading (from the camera position) off of the actor, then take a second reading off of the white wall and compare the brightness of each.

You'll probably want the actor to be at least 1 to 2 stops brighter than the background based on the spot reading and your statement that you don't want the white wall too bright.

Your other decision depends on how much of everything else do you want to be able to see. So another determination to be made is calculating what your f-stop selection for your actor will do to your outside location in general. If you do a test shoot, make sure to also just shoot the environment with no one in it (just a couple of frames) during the test shoot so that you can "feel" what the location looks like without any lighting at certain f-stops.

The Magic hour shot is interesting. I'm not sure that you will be able to illuminate your subject more than the white wall if the actor is in front of the white wall.

If you can create some distance between the wall and your subject, that will help.

[Mike Buckles]

I've heard of the "magic hour" and was wondering exactly when this is?

[Greg Crawford]

The truth is, Plus - X has more contrast than Try - X. And you can get your highlights to blowout faster. On the other side of the coin, you can continue shooting more into the night with the faster Try - X stock.

I would use both incident and reflected meter readings for the shoot. Take an incident meter reading, this is like pointing a reflective meter at a gray card. it will give you the same reading as measuring a gray card with a reflected meter, from the subjects position.

Set your F stop to this reading, say F 5.6
Then measure the brightest object in the shot with your reflective meter. (set at the same film speed, ASA ).

Lets do the math, if your overall exposure is 5.6
and a reading of your brightest object reveals a reading of F-16, You know that the item would photograph three stops above mid level gray. Or Zone VIII on the gray scale.

If you want to see detail in this white object you will need to bring the light level down a bit so the differences between what you camera is set at (F-5.6) and what the white object reads. to stops about mid gray still would be very bright with some substance and detail. One stop above would give you good texture and look more gray.

To control the light outside, you might consider using negative lighting, by using black foam core boards or large felt panels.

You will need to consider the colors of your close and make up used in the shoot, when working with a 25 Red filter.

Red lipstick goes much darker when shooting with a 25. Dark reds will look black. If you can take a look at the March issue of American Cinematographer, SHORT TAKES, page 87 about a the making of a Black and White Western short. The Cinematographer wanted to shoot with a 25 Red filter to make the sky look darker, the main cowboys vest had to be tea green to read right on the black and white stock.

Don't forget to lower your shooting film speed to compensate for the light lost using a 25.
25 red filter 3 stops in daylight
2-2/3 stops with tungsten lighting

[Actor]

A gray card is definitely the way to go. Put the card where the actor is going to be. (Have him stand there and hold it against his nose.) Get in close enough that the card fills the viewfinder. Lock your exposure and return the camera to where you want it and shoot.

[LAmind]

Thanks everyone. Very helpful. I feel better about the shoot now.

[Mike Buckles]

I assume the gray card method would work with Kodachrome as well? Is there an advantage in taking spot readings of the gray card as opposed to spot readings of say, the actor's face? Should the spot reading method be used in every instance, or just when you want that particular spot to be correctly exposed? Are there times when just exposing the scene based upon what the meter reads will give you the best result?

[Alex]

The biggest advantage for not using the gray card is time and convenience. So if you can get a proper reading without use of a gray card, more power to you.

I have used the zoom into the face method. I Take a reading off of the actors face, then open up 1/2 to 1 stop, and for caucasian faces, this technique works really well.