Cinematography : Night Shoot lighting by Chris Drury

Thanks, but day shoot isn't an option, dusk possibly. I have access to GoPro Hero 3+ Black Ed, Canon 600D, Canon 700D and BlackMagic compact camera with some wide app lens at F2. So, rather than spend more on camera hire (which I can't afford), I am leaning to an option of a portable inverter generator with a max output of 400W with either a spot or large LED light board. As I can't trial this kit I was after advice from someone who has had this problem and over come it already. And yes, I know the moon casts shadow so I am unsure of why you even wrote such a comment!

Small portable generators are good, but chances are you will need at least a couple of them, one for the foreground and at least one for the background. Choosing lights that have a lot of lumens per watt is important, but the amount of light, the size of the beam and area covered is crucial. This information is readily available in the Photometric data section of the specifications from luminaire manufacturers. Use it. You might be better off looking at the output of 125w 200w or 400w HMI’s. Choose correctly and you will be able to maximize the illuminated area for the amount of power that you have. If you are using gels on the lights remember to factor in the light loss. LED lights are problematic in a couple of ways for your shoot. Multiple shadows and output at a distance, so think carefully on that one. Make sure to try your setup on the generator before you walk out to the location. HMIs need additional power of startup, so make sure you can start and run everything you will use as you will use them to see if the generator can handle it without causing fluctuations is speed. Remember to bring some reflectors to help shape close-ups and enough fuel for the generator. You mention that dusk is possible, if so that would be the time to shoot your wide shots if the angle of the sun is to your advantage. Those shots could be used as day for night, as Alle suggested. and then do the tighter shots with the lights you have. Obviously the camera with the best sensitivity and lowest noise is your first choice. Add the fastest lens you can get and you will have your camera package. The GoPro is a non-starter for this. With the other cameras think in terms of balancing noise and sensitivity when selecting an ISO. Make sure you have enough camera batteries to power it for twice as long as you think you will need. If you cannot effectively light the features you like about the location you have chosen you will not see what you are there for. There may be an unpleasant decision of moving to a lesser location that works logistically. Sometimes that is the right decision because we do the shoots with what we have not necessarily what we need or want. One thing that may help you is if your actors will be carrying lights of any kind, torches (flashlights outside of the UK), torches (stick with fire on the end), phones or tablets, lanterns, halos around their heads, beams from UFOs, anything.

While filming night shoots on my 2nd feature film, I used 3 x 1000 watt light stands and a 3500 watt Honda generator. This thing is ultra quite and you can use microphones at about 30+ feet away with little to no noise from the generator. If you have a cheap loud generator, you will have to have the generator 100 yards away and behind a hill. The noise can be killer to your microphones! Use long cables. You can see specific scenes from my movie " Internal Behaviors Part 2 " out now on DVD on ebay from Super-Natural-Films.com Hope that helps. If you have any specific questions, let me know.

At dusk the light coming from the direction of where the sun just set, is brighter than the light coming from the side that is opposite where the sun set. If the sun set to the side or behind the shot, then in post you most certainly can shoot day for night as the light will side or backlight your subject area. The natural illumination difference will give you enough contrast in the image to allow manipulation in post. Further since that illumination is skylight and not sunlight, the colour temperature is high enough to have lots of colour information available for later manipulation. this is also a reason that colour sub-sampling and bit depth is very important. Do remember with clean images and the right tools, knowledge and experience, it is not too difficult to colourize a B&W image relatively effectively. It should not be surprising that knowledgeable experienced artists working with better tools give better results. There is more than one way to interpret night, since the choices are only limited by creativity. Hard shadows, sure, in those instances where applicable. Obviously if there is no moon or other light source there are no hard shadows i.e. underneath a thick forest canopy there are no hard shadows since there is little light, in a nighttime rain there are no hard shadows, etc. All stories are not restricted to one visual style. Where there is no visible light source, one method to visualize night is by starting with a black frame and using light to sketch in details of the scene to achieve a sense of place with enough detail for the story you are telling. Night can be completely stylized in many ways as long as it works for you. Dealing with actual information like photometrics is helpful. HMIs have a usable beam quality and a lot of light per watt of power. Arri Pocket Par 400 with Super Flood lens and in the Flood setting, is a 56˚ beam angle with a beam diameter of 42.5’ at a distance of 40’. At 500 ISO and shoot 24fps and a 180˚ shutter the exposure is an f2.5. Arri Pocket Par 200 with Flood lens and in the Flood setting, is a 54˚ beam angle with a beam diameter of 40.76’ at a distance of 40’. At 500 ISO and shoot 24fps and a 180˚ shutter the exposure is an f1.9 A few of these, with some reflectors for fill is workable depending upon the size and content of the shot. As this is at a 500 ISO setting, If the camera gives a clean image at higher ISO settings then there is enough light to give some up with filters and cookies if needed. With a higher ISO setting or faster lens the light can be moved farther away to give an even larger beam diameter with full exposure. If the shot is being done with a camera that has a wide latitude and clean blacks all the better. At night your shots are those that are or can be effectively lit to tell the story.

What Andrew said......and, do some experimenting with your filter kit., be sure to inform your makeup dept., filters alter makeup. you said "rocks", try to arrange your scene at dusk, shooting east, just after the sun has cast a shadow on your actors, use your filters. With a little practice you can make day into night with wonderful richness.

I am doing a little reworking with the script, and think I will shoot day for night with some work at dusk thrown in. Meeting some local established professionals from Creative England tomorrow to get a little more advice. Many thanks for all of your comments and advice. Cheers.

Day for night will work ok if you have a good colorist. The only other real option is to put a high power light on a crane... Otherwise shoot close and tight and use low powered lights. Don't forget to light the background too! ;)

1) Light in layers 2) Chose a location which gives you some light on the background 2) Use propane camping lanterns

hummm camping lanterns... I imagine that they have a fairly K value ?

The Canon C100 is awesome in lowlight, you almost don't need any. Find a DP with one or rent one.

Thanks, I am a big Canon fan, owned and used the 5D, 60D, 700D and they are great, never used the C100 but would love to. I will take a look at costs. cheers, chris.

Hi Chris. Easiest option for you is to hire a DP with a C100 and gear. Put an advert out on mandy.com, here, and media-match.com and you'll be flooded with offers. Also films schools like LFS, and National Film and Television School. I've borrowed the film schools grip and lights before for a commercial shoot all for free, just ask nicely.

Another alternative is to shoot day for night, but the DP has to do it right to look good. That way you don't need lights, and with careful planning and composing out any giveaways it can look great. Try putting an advert for a DP at LFS in central London and NFTS, they're cinematography students is very good, I'm sure you'll find one who'll help you for next to nothing. I've taught their students before so if nothing works out let me know.

DP's and gear are two separate things. The DP is not an appendage to the equipment. You bring in a DP based on vision, artistry, knowledge and experience. The DP then chooses the gear they will use to create the images within the parameters of the production. You want to know how to shoot a night scene, talk to DPs you know or ask generally or ask the DP you are hiring. As is the case when choosing creative people to work with you can usually decide if the DP is for you within 10 minutes of talking and night shoots can be part of that discussion. When you lock yourself into a camera before choosing the DP. you restrict the number of people interested in working with you. If you are shooting this yourself, then you know you can ask about things you are unsure of and get lots and lots of opinions.

Hi Chris, Here's a survey of gear used by different filmmakers, it's doc based but'll give you some idea: http://www.pbs.org/pov/filmmakers/2013-documentary-equipment-survey.php#...

Let me apologize for not delineating the types of productions I was referring to. As Chris’ original posting was in regards to a scripted production, that was what I was referring to, network scripted productions not documentaries on public television.

Since you're out where there's no constant power source...There's an old adage in Film school, "Get as many batteries as you think you absolutely need, then multiply by two."

With your budget I think shooting Day for Night would be a good option. It depends on how wide a shot you need.