Lighting Plan: Calgon TV Commercial Pt.4
2 TV Commercials, 1 day, shooting into the night…
In January I shot 2 TV Commercials for Calgon. Both on the same day, in two locations with a big unit move in the middle. It was a challenge to say the least!
This is the final part on how I shot the 2 commercials.
Camera Equipment supplied by FilmScape.
Lighting Equipment supplied by Carrier-Media.
In the last post I took you through the third set up of the day. That was for Commercial 1 and in Location 2.
Now we will look at the final set ups for the day.
Location 2, Set up 2.
For the final set ups of the day, we would be shooting fas the sun sets and as outside becomes pitch black. The set up we developed during our recce, was to combat this with a combination of two 4K MHI PAR’s on the outside, fired through 2 8×8 Silk frames. I didn’t want the windows completely bleached out, or I would have ordered in more powerful lights. But we had to make sure the interiors of the warehouse looked as if it was lit by sun light.
All of the set ups during this commercial shoot where designed to be switched quickly and for each set up to lead on to the next. This was no different. Once Commercial 1 was wrapped the lighting team, headed up by my Gaffer Mr Pete Carrier, got onto quickly turning the lighting set up around.
We went from this:
In a matter of minutes.
Set ups and smart planning like this saves time and money, and best of all, Producers love it! So when you are on a recce or have the chance to plan a shoot, don’t just work out how to make every thing look beautiful and only care about the image. Try and work with everyone on set, and work out a plan that gets the day moving and everyone wrapped on time. No one likes hearing that we are going to do a second re light because of bad communication or planning!
Lighting is a dance, as much as anything else, and part of that dance is logistics and planning!
I had an additional 575w HMI brought in. This was to add more light to the top half of the back ground. It was lacking as there wasn’t natural light bouncing around the room. This just lifted it up enough without ruining the balance of other lights. It was flagged of from hitting our subject.
The same 1.2k HMI Fresnel and Poly Board, with Half White Diffusion, technique was used as my fill, with the 4 Bank KinoFlo being brought in when needed to add some more shaping.
Here is my 1stAC Jaime showing you what he thinks of the lighting:
This also gives a feel of what the light levels inside the warehouse where looking like.
Here is another image to give you a feel:
You can see the window at the top is pitch black, but the windows to the side are a convincing day light.
Lenses where all the same as the set ups before. We used everything in the case bar the 18mm CP.2. Most was on the 35mm CP.2, and the close up bellow was the 85mm CP.2.
I also had the Polariser in the Matte Box throughout the whole shoot still, this was especially useful at eliminating reflections in the Washing Machines.
Let’s let the frames do the talking… Do any of them look like it’s night outside?
I like how some of the brick outside the window, on the right hand side of frame, is still exposed. This gives the frame a more natural feel for me, and makes the window less of a distraction.
I am very happy with how this turned out. It’s a great feeling when what you imagined and your gut instinct told you on the Recce, turns out to work in reality. It’s even better having a great crew around you to help it all happen!
I hope you have enjoyed reading these incites into this shoot. I look forward to doing more in depth series on the shoots I am involved with and sharing them in greater detail with you.
Comment bellow if you have any questions, or if you want to know more!
Thanks for reading,
Director – Markus Meedt
Producer – Matt Loudon
Set Producer – Kim Jones
Senior Account Dir. – Rea Hajifanis
Junior Account Dir. – Rachael Naome
DOP – Jack Shelbourn
1st AD – Daniel Smith
1st AC – Jaime Mcinerney
Camera Trainee – Alex Abdolwahabi
Gaffer – Pete Carrier
Spark – Dave Sedgwick
Spark – Dave Marriot
Sound – Paul Fairey
Set PA – Victoria Colwill
Art Dir. – Sam Harley
Asst. Art. Dir – Anna Sheldrake
StBy Art Dept – Billy Noonan
Prop Master – Doug Glen
Make Up – Cristina Corazza
Location Agency – Hannah Elms
Unit Driver – Leigh Mason