Fashion: Day 3: Final Lighting and testing

Today's production was focussed mainly on finessing the lighting in particular the positioning of all of our lighting, brightness of each individual light in relation to the other lights and light metering to get the correct exposure on the camera; however we were also experimenting with the use of glycerine to create the look of raindrops on the window. Again the following is a list of the tasks we completed in preparation for the shoot tomorrow:

1.  For the lighting we focussed firstly on how we would subtley light up the brickwork around the window frame; by blacking out the area behind the window and then using a reflector we were able to control the light spread. A light sits below the window faced away which in turn reflects back to create the look of a street lamp glow. The use of spun and neutral density gel allows us to soften the lighting so that it is not extremely over powering or bright.

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After realising the setttings were incorrect on phocus we tweeked our lighting brightness and did light readings to tackle the changes.
We began with the space light, using the dimmer to increase the brightness, we experimented with a strip of black around the whole of the diffuser but in the end decided that a large flag would create a better graduation in light spill on the wall, creating the feel of a room light.   

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We then figured out the level of lighting we wished for coming from the hall area; to reduce issues of shadow on the door we moved the light which acted as a hall light high up to the left of the doorway with spun attached to reduce the strength. Keeping the light in the same place we then added flags to the light travelling through the door to again diffuse it and make it much less harsh as well as reducing strange shadows which we did not want cast.    

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To accentuate the female figure and the red dress we used a light softened a little by a flag and shaped by the barn doors and another opaque flag; the alcove and wall behind the figure is then put slightly in shadow which also highlights the female model further.
We also have another light attached to the goal post with spun attached positioned and angled towards the female model so that if we need extra highlights we can add this light in.  

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We then moved on to the lighting on the secret documents on the desk and slightly highlighting the male model. We exaggerated the prop lamp light by adding a dedo light attached to a clamp above with orange gel attached to create the look of light spread over the desk and spilling on the model's face; this lighting is a lot softer and duller than the lighting on the female model to highlight the importance of roles within the image. 

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 After all of the main lights were positioned and exposed correctly we then added two extra lights to take the edge off of the harsh shadow cast on the surrounding props; in particular the side table with teasmade on and trouser press. We used an Arri 150w and a dedo light both on mighty baby stands which simply add slight highlights to the surfaces by using barn doors to direct both. This also lifts the light in the room slightly which creates more of a graduation of shadow on the walls.   

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3. We then experimented with glycerine mixed with water to create raindrops on the acrylic window enhancing this atmospheric feeling through use of pathetic fallacy. However when we did this we found that it created unnecessary distraction and due to many different lights around the set the water reflects too much which obscures the scene. So we are very pleased that we tried out this technique but in the end have decided not to use it.

 4. After doing this experimentation Martin attached the real perspex to the window frame through the process of beading by cutting long, thin pieces of wood which he screwed in to secure the acrylic against the frame; by having the perspex completely flat we eliminate any possibilities of reflections.

5. While in the studio I drew a quick diagram of the lights which I have redone on the computer; I will take this in to the shoot tomorrow to make sure we check all of the lights as well as making sure all of the lights are on before we start shooting.

1. Arri 150w (on bed highlighting props)

2. Arri 650w (through door + diffused)

3. Arri 300w (in hall highlighting wall)

4. Space light (on goal posts)

5. Dedo Light (highlighting side board)

6. Arri 300w (diffused on female model)

7. Arri 650w (blue & neutral density gels + reflector)

8. Dedo light (orange gel, on desk & male model)

a. Arri 650w (possibly used to highlight female model)

6.   While the others were finishing off the lighting, Lucie and I constructed the changing area by using poly boards and C stands, areas behind the wall where all of our equipment has been cordened off and a hair and make-up/ comfort area has been cleared and ordered to be used before and throughout the shoot by the models and artists.

7. With the input of others in the group I made a list of actions we need to check off tomorrow:

- Make sure arri 150w on bed is not creating an obviously distractive reflection in the TV screen or metal surround.
- Make sure props are correctly positioned and can be seen eg. the mirror, the duvet/sheets/pillows/towel, desk and lamps etc.
- Check reflections in the mirror, window, picture and clock.
- Check lighting positioning on both models.
- Check for shadows on the door from our female model's arm (issue raised during lighting)
- Check the lamp shade in the background for fabric flapped down.
- Decide whether to use Arri 650w on the goalposts to highlight the female figure further.
- Take biscuits out of packets
- Get out guns, camera, cigarettes & jewellery ready to dress models before shoot. 
- Do grey card test on the image as unfortunately we have not done this yet, however hopefully any gel changes will be minimal and easy to fix. 

8. Tomorrow the group, Esteph, and our hair & make up people, Tom and Maria will will be in at 8:30 so that hair and make-up can be started as soon as possible as tests have shown we need to leave around 2 hours more them to do this.
Ollie will be arriving around 9 as there is less that will need to be done to him, however we still need to make final decisions on clothing which we will choose from his choice of jackets, ties, shirts and hankies. Before we start the main shoot we will also finalise the desk position and height and the position of the lighting. 

I am really looking forward to the shoot as I feel as a group we have worked well together and are very organised in all areas of the set build and shoot; I feel we will be able to experiment with different positons for both models to see the effect of moving them on their importance and audience focus,  as well as possibly lowering or heightening the brightness of lights to get different effects on the models and set.