Light in Hard Time: Illuminating a Medieval Prison Cell (Article/Tutorial)

Posted by on Mar 25, 2016 | 0 comments

The latest episode of Ren: The Girl with the Mark features the first interior scene we shot for the show.

It was a classic prison cell scene, one of those shaft-of-light-through-the-barred-window jobbies. Amanda Stekly and her team did a great job of creating a two-walled set with moss, wet stone and even real snails. Outside the window was a platform to sell the illusion that the cell was below ground level.

Here are some frames from the scene:

prison 1prison 2

2.5K HMI

2.5K HMI

If you’re going for this shaft-of-light-piercing-the-gloom look, you need three things. Firstly, a powerful, focusable light; I used a 2.5K HMI fresnel. Secondly, you need to accept over-exposure. The only way you will get any detail in the shadows is by exposing bright enough that the highlights – anyone standing in the direct beam of light – will clip. If you don’t like the highlight roll-off characteristics of your camera, stay away from this type of lighting. The cool thing about having a keylight this hot is that when a character moves around in the light, especially if they’re wearing light-coloured clothing, they bounce the light around in interesting and often unpredictable ways.

The fluorescent fixture providing indirect “daylight” can be seen on the left, gelled with Quarter Minus Green to remove the green spike in the lamp’s output.

In this view from behind the set, the fluorescent fixture providing indirect “daylight” can be seen on the left, gelled with Quarter Minus Green to remove the green spike in the lamp’s output.

I shot the scene on Richard Roberts’ Blackmagic Cinema Camera, partly because of ongoing problems getting a monitor signal out of my Production Camera, and partly because of the extra stop of dynamic range the BMCC would give me to milk this high contrast lighting scenario.

The third and very important thing you need is a smoke machine to volumise the shaft of light. (More about using smoke in a future post.)

The door gobo.

The door gobo.

In order to give the sense of indirect “sky” light also coming in through the window, I placed a fluorescent outside the window so as to catch some of the side wall of the set. When I first tested the lighting set-up the previous night, I placed a second fluorescent fixture directly above the window to get some edging on the tops of the stones underneath. But I found that the more sources I set up, the less definition I got in the shaft of HMI light, so I dropped the toplight.

The LED hidden behind the bucket

The LED hidden behind the bucket

Although the script called for guards to drag Hunter (Duran Fulton Brown) into the cell and shut him in, the two-walled set had no door. So with help from the art department I constructed a ridiculous-looking door in roughly one-third scale, simply to cast the shadow of the door. Behind it I placed a redhead gelled with half CTO, which Richard wiggled during takes to suggest firelight.

I set the camera to a white balance of 4,500K so that the “daylight” of the HMI would go a little cold and the “firelight” would go really warm.

A fluorescent toplight rigged over the bucket for the face-washing close-up. Note the black cloth hanging from one side to reduce spill.

A fluorescent toplight rigged over the bucket for the face-washing close-up. Note the black cloth hanging from one side to reduce spill.

Our first shot involved Hunter washing his face at a bucket of water, then slumping back into the “sunlight”. We positioned the bucket out of the “sunlight”, in the small patch of light coming through the window of our fake door. But Hunter was still too dark by the bucket. I didn’t want to flood the set with fill and ruin the mood, so I hid a small LED light behind the bucket and diffed it down. This lights Hunter’s face when he leans over it, and hopefully suggests a reflection off the water.

Foil in the bucket for added bounce

Foil in the bucket for added bounce

When we moved to a close-up of Hunter washing his face (below), I rigged a fluorescent toplight, suggestive of indirect daylight from the window, and placed a circle of foil at the bottom of the bucket. The idea was that the toplight would reflect off the foil and the surface of the water and light Hunter’s face. It didn’t work, but the toplight itself really made the shot for me. The more you work with an actor, the more you learn the best ways to light them, and I’ve learnt that Duran looks great with toplight.

 

Prison 3

Screen grabs (C) 2014 Mythica Entertainment.

Watch Ren: The Girl with the Mark at rentheseries.com .

This article has been reprinted by MFM with my express permission.  You can learn more about this and my other work as a cinematographer, gaffer, and director at NeilOseman.com.

Neil Oseman has 20 years’ experience of independent filmmaking. After making two micro-budget features as director/producer in the early 2000s, he focused on cinematography. His DP credits include Netflix’s The Little Mermaid, and on Amazon: cult horror Heretiks, multi-award-winning comedy road movie Above the Clouds, and multi-award-winning fantasy series Ren: The Girl with the Mark. Visit Neil’s Instagram feed to see lighting diagrams from these productions and many others.

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