I've been scared to write EXT. NIGHT scenes for the longest time, mainly because of having no clue on how to handle the lighting. I have an okay lighting kit, but no generator. Beyond that, even if I DID purchase/borrow/rent a generator, I am afraid that it would be way too loud. What can I do to light my scenes at night? Any ideas?
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Lighting outdoor scenes
- Thread starter VladCantSleep
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Hi Vlad. I shot exteriors for my current horror movie this past summer, most of which, understandably, required night shooting. As Will suggests, there are infinite variables to consider, depending on what is needed for the scene.
I have a generator and it definitely makes a godawful racket!
Impossible to record usable sound with it running in earshot. When I wrote the script and scouted locations I kept in mind what logistics would be required to power my lighting instruments.
In some cases, I spoke to the owners of businesses and residences adjacent to the location and asked permission to tap power from their building(s). I offered to reimburse them for its use, but almost always was told not to worry about it; they were pleased to be able to help out.
When that was not feasible, I fired up the generator, but looked for places where the genny could be hidden; e.g. behind a wall or building which had nothing on the other side that would bounce the sound. Trees are good for breaking up sound, but a flat wall acts like a reflector.
In rare cases where neither of the above was possible, I made certain I didn't schedule any dialog-heavy scenes at that location. If the actors spoke only in short bursts (1 to 3 word sentences) I knew I could grab the lines wild after the shoot and easily sync them in post, especially if I recorded a scratch track as a guide.
If you decide to do this, make sure you have plenty of long stingers on hand. Try and use 12 gauge cable if possible, rather than the standard 16 gauge as extremely long AC runs create a lot of resistance and quartz lights draw a lot of amperage.
Also, make sure you know what sort of load the breakers in a given source are rated to handle. We had a business run an AC feed out their window for us one evening before they closed up. At about 2:30AM a crew member accidentally plugged one too many lights into that line and tripped the breaker...inside the locked building. At that time of night we couldn't exactly call up the owner and ask him to come down and let us in to reset the breaker, so we were screwed for the rest of the night.
Hope this helps you.
I have a generator and it definitely makes a godawful racket!
Impossible to record usable sound with it running in earshot. When I wrote the script and scouted locations I kept in mind what logistics would be required to power my lighting instruments.In some cases, I spoke to the owners of businesses and residences adjacent to the location and asked permission to tap power from their building(s). I offered to reimburse them for its use, but almost always was told not to worry about it; they were pleased to be able to help out.
When that was not feasible, I fired up the generator, but looked for places where the genny could be hidden; e.g. behind a wall or building which had nothing on the other side that would bounce the sound. Trees are good for breaking up sound, but a flat wall acts like a reflector.
In rare cases where neither of the above was possible, I made certain I didn't schedule any dialog-heavy scenes at that location. If the actors spoke only in short bursts (1 to 3 word sentences) I knew I could grab the lines wild after the shoot and easily sync them in post, especially if I recorded a scratch track as a guide.
If you decide to do this, make sure you have plenty of long stingers on hand. Try and use 12 gauge cable if possible, rather than the standard 16 gauge as extremely long AC runs create a lot of resistance and quartz lights draw a lot of amperage.
Also, make sure you know what sort of load the breakers in a given source are rated to handle. We had a business run an AC feed out their window for us one evening before they closed up. At about 2:30AM a crew member accidentally plugged one too many lights into that line and tripped the breaker...inside the locked building. At that time of night we couldn't exactly call up the owner and ask him to come down and let us in to reset the breaker, so we were screwed for the rest of the night.
Hope this helps you.
Go ahead and write your night scenes.
When it's time to actually plan the shoot, that's the time to start the compromises. (and since we have no specifics for your scenes, there's no specifics here.)
Make the best use of any practicals, for starters. Are your actors sitting around a campfire? They walking in the woods with a couple of lanterns? (Lanterns better than flashlights - flashlights only illuminate in a narrow straight line, while lanterns light up a sphere) They chillin' at a tailgate party being lit by car headlights? They at a witches' midnight black mass with a tonne of candles around?
Just throwin' out some ideas, where practicals can be used to light things up, to some extent. Figure out how much additional lighting you'll need, after taking those into account.
Also, just because your scene may call for "out in the middle of nowhere", there's no reason for you to be shooting out in the middle of nowhere. The audience is only going to see what the camera is looking at. You could be in your backyard 10 feet from the nearest electric outlet, and as long as the camera's lookin' the right way noone's going to know the difference.
Heck, even if your scene calls for being in a lonely stretch of Montana deserted in a cornfield, it's easy enough to beg/borrow a dozen corn stalks to use as background. As long as you're not relying on some helicopter flyby footage of the footage (with visible actors), you can find a way to fake it. Though, really - if you can afford a helicopter camera crew, you can afford to shoot on location in Montana.
Also, lots & lots of extension cords.
When it's time to actually plan the shoot, that's the time to start the compromises. (and since we have no specifics for your scenes, there's no specifics here.)
Make the best use of any practicals, for starters. Are your actors sitting around a campfire? They walking in the woods with a couple of lanterns? (Lanterns better than flashlights - flashlights only illuminate in a narrow straight line, while lanterns light up a sphere) They chillin' at a tailgate party being lit by car headlights? They at a witches' midnight black mass with a tonne of candles around?
Just throwin' out some ideas, where practicals can be used to light things up, to some extent. Figure out how much additional lighting you'll need, after taking those into account.
Also, just because your scene may call for "out in the middle of nowhere", there's no reason for you to be shooting out in the middle of nowhere. The audience is only going to see what the camera is looking at. You could be in your backyard 10 feet from the nearest electric outlet, and as long as the camera's lookin' the right way noone's going to know the difference.
Heck, even if your scene calls for being in a lonely stretch of Montana deserted in a cornfield, it's easy enough to beg/borrow a dozen corn stalks to use as background. As long as you're not relying on some helicopter flyby footage of the footage (with visible actors), you can find a way to fake it. Though, really - if you can afford a helicopter camera crew, you can afford to shoot on location in Montana.
Also, lots & lots of extension cords.
Thank you very much for the suggestions guys!
I've thought about using practicals, but from the test footage I've shot, they are not enough.
From what I've seen on this forum, the way most people achieve believable lighting during night, is by disguising one of their lights as an off camera practical light. I've thought about ways to achieve that, but a lot of the time, I'd need a street light, a car, or something believable nearby. I can't have an insanely bright light in the middle of a dark street for no reason, right? Asking local businesses/residences to plug your lighting equipment is a great idea I haven't thought of -- but it wouldn't be applicable all the time. I live in a pretty rural city (It's a suburb of Toronto). I write a lot of my scripts with local spots in mind. Being a rural town, there are long stretches of road without street lights/buildings. In one of my of my films, a character encounters a mob of "demons", for the lack of a better term, on a lonely dark road. I can place that scene on a not so lonely road near a residential/business complex, but that would kill the impact.
There is dialogue, so using a generator is not practical. I also do not have a dubbing microphone, as the only microphone I own is a shotgun mic.
Are there any portable batteries that I can use with my lights? A portable power source that operates on stores power?
In short, I can definitely rewrite some scenes, and use the suggestions you guys gave me. My biggest concern is that I'll be sacrificing some of my artistic decisions... But I doubt I'm a good enough of a film maker to actually have that make a difference.
I've thought about using practicals, but from the test footage I've shot, they are not enough.
From what I've seen on this forum, the way most people achieve believable lighting during night, is by disguising one of their lights as an off camera practical light. I've thought about ways to achieve that, but a lot of the time, I'd need a street light, a car, or something believable nearby. I can't have an insanely bright light in the middle of a dark street for no reason, right? Asking local businesses/residences to plug your lighting equipment is a great idea I haven't thought of -- but it wouldn't be applicable all the time. I live in a pretty rural city (It's a suburb of Toronto). I write a lot of my scripts with local spots in mind. Being a rural town, there are long stretches of road without street lights/buildings. In one of my of my films, a character encounters a mob of "demons", for the lack of a better term, on a lonely dark road. I can place that scene on a not so lonely road near a residential/business complex, but that would kill the impact.
There is dialogue, so using a generator is not practical. I also do not have a dubbing microphone, as the only microphone I own is a shotgun mic.
Are there any portable batteries that I can use with my lights? A portable power source that operates on stores power?
In short, I can definitely rewrite some scenes, and use the suggestions you guys gave me. My biggest concern is that I'll be sacrificing some of my artistic decisions... But I doubt I'm a good enough of a film maker to actually have that make a difference.
The entire scene doesn't need to be a wide shot, but one of the shots I wanted is fairly wide (10~ meters of road).
In this shot, the protagonist is running towards a group of men he sees in the middle of an empty street. The rest of it can be shot fairly close, but this is a pretty important shot in the context of the script.
ok...so you are getting close to telling us the location and scene...still need more to help...
Are there buildings, stores,houses along this street...or just trees....
Are there streetlamps around(bytheway..a great place to steal power form, but will get you a night in jail if unlucky or at least your camera taken away)
your putput can still be used with Dialoge...just need to tell you how
so tell us more...i have seen quite a few tricks in my day...
Are there buildings, stores,houses along this street...or just trees....
Are there streetlamps around(bytheway..a great place to steal power form, but will get you a night in jail if unlucky or at least your camera taken away)
your putput can still be used with Dialoge...just need to tell you how
so tell us more...i have seen quite a few tricks in my day...
The general trick is to put dark characters against a light background or a bright character against a dark background. If you can't get close enough to light the foreground, light the background with hidden lights.
Shooting towards evening could help too, then just drop the brightness of the sky in post... example from a random picture found on the net:
http://www.inhabitat.com/wp-content/uploads/barnhouse2.jpg
into this
http://www.yafiunderground.com/Images/barn-night.jpg
Using a luma matte to select everything but the interior lights of the house thusly:
http://www.yafiunderground.com/Images/FCP-Settings.jpg
The CC3 on that middle bit darkens just the yellows allowing them to pass un tinted by the darkened image above... then a blue rectangle with the opacity dropped tops it off to make a night scene (more twiddling would have gotten that pesky left corner, but this was 5 minutes of work, so not too shabby
)
Shooting towards evening could help too, then just drop the brightness of the sky in post... example from a random picture found on the net:
http://www.inhabitat.com/wp-content/uploads/barnhouse2.jpg
into this
http://www.yafiunderground.com/Images/barn-night.jpg
Using a luma matte to select everything but the interior lights of the house thusly:
http://www.yafiunderground.com/Images/FCP-Settings.jpg
The CC3 on that middle bit darkens just the yellows allowing them to pass un tinted by the darkened image above... then a blue rectangle with the opacity dropped tops it off to make a night scene (more twiddling would have gotten that pesky left corner, but this was 5 minutes of work, so not too shabby
)The general trick is to put dark characters against a light background or a bright character against a dark background. If you can't get close enough to light the foreground, light the background with hidden lights.
Shooting towards evening could help too, then just drop the brightness of the sky in post... example from a random picture found on the net:
http://www.inhabitat.com/wp-content/uploads/barnhouse2.jpg
into this
http://www.yafiunderground.com/Images/barn-night.jpg
Using a luma matte to select everything but the interior lights of the house thusly:
http://www.yafiunderground.com/Images/FCP-Settings.jpg
The CC3 on that middle bit darkens just the yellows allowing them to pass un tinted by the darkened image above... then a blue rectangle with the opacity dropped tops it off to make a night scene (more twiddling would have gotten that pesky left corner, but this was 5 minutes of work, so not too shabby
I agree that it isn't shabby for 5 minutes of work... But something still isn't right in the picture. It doesn't look natural. I've accomplished similar results, and I was not happy with them. Sadly, I don't have that footage anymore, but I'll show you an example on some crappy handheld footage from the summer.
http://www.youtube.com/watch?v=JdEnEFdQTmQ
I realize that I made it a bit too dark, but i'm too lazy to go back and fix it. It would probably pass for night if the camera wasn't moving. And this actually looks a bit better than I expected to -- but all of this goes down the drain when you have people and objects moving around on screen. It looks weird.
Still can't find the old footage, but i dug up something I thought I could use.
I applied the same settings as I did to the last video. Tweaked them a bit. Here is what I'm getting:
http://www.youtube.com/watch?v=INRs2zyxH9k&feature=channel_page
I'm not satisfied. I don't know if tinkering with this for a few more hours will get me a satisfactory result... But I've pretty much given up on turning day to night. I want to be able to light night shots now.
I applied the same settings as I did to the last video. Tweaked them a bit. Here is what I'm getting:
http://www.youtube.com/watch?v=INRs2zyxH9k&feature=channel_page
I'm not satisfied. I don't know if tinkering with this for a few more hours will get me a satisfactory result... But I've pretty much given up on turning day to night. I want to be able to light night shots now.
Well, then the next question is... "What is your budget for lighting?"
You could hit up construction rental houses for something like this to use to replace moonlight (still have to balance it blue either in camera or post:
http://www.contractorsdirect.com/Ge...tors-Accessoires/Multiquip-LT-12D-Light-Tower
It would do the trick though. If you look at hollywood productions, they'll stretch a huge white "silk" above the actors to diffuse the light that's hitting them to make them look glamorous (held up by a crane out of view of the camera) and throw a huge light at it to emulate sun or moon light. If you don't have that kind of budget, you need to either use the shots you can get on a limited budget or "cheat". I can do a much more precise job of that masking using different software (Shake is only $500 - cheap compared to equipment rental). I'd get mattes that hug tightly to the tops of the roof and treeline and move with the shot. I'd spend about 10 hours on the one shot making it look just right and it would spend a second on screen before I cut to tighter angles that I was able to light as if they were nighttime and actually get what I wanted in camera. I doesn't spend that much time on screen, no one will be analyzing the shot the way the effects/editor will be.
The instant solution to your problem is to pour money into lighting the shot... the DIY indy solution is to be creative with how you use what you have.
Is that last clip a picture of the actual location? How is the scene going to be edited? How much screen time will the wide shot get on screen?
Cameras want light. If you're going to shoot at night, you have to provide lots of it, because the free stuff is gone and the moon won't be bright enough (inverse square law - it's really just reflected sunlight). You'll have to fake it which is easy to do on tighter shots with cheap lights, but really hard to do on wide shots... which is why indy films never quite look like hollywood films.
Why is this one shot important to your story? What role does it play in your character's development. How long is the piece you're shooting overall? Ask these questions of your self to see if the expenditure to get the one big epic shot is worth taking from the rest of the shoot.
To quote a DP that came and talked at our school: "Someone once expressed surprise at how much light it takes to make it look like night!"
Here's some articles:
http://www.videomaker.com/article/13540/
http://www.videomaker.com/article/8241/
http://books.google.com/books?id=2O...hl=en&sa=X&oi=book_result&resnum=10&ct=result
http://books.google.com/books?id=fR...hl=en&sa=X&oi=book_result&resnum=23&ct=result
I had an article in my head about how to make a forest look right at night in a wide shot (fog in midfield trees, white light raking across trunks in mid field, high angle blue hard light as key to simulate moon etc...) There was quite a bit of light to give the shot depth... don't quite remember where that article was, but it was really quite an imformative piece... lots of light and a huge smoke machine to fill the midfield forest with smoke for the light to catch to give the actors something bright to be framed against.
You could hit up construction rental houses for something like this to use to replace moonlight (still have to balance it blue either in camera or post:
http://www.contractorsdirect.com/Ge...tors-Accessoires/Multiquip-LT-12D-Light-Tower
It would do the trick though. If you look at hollywood productions, they'll stretch a huge white "silk" above the actors to diffuse the light that's hitting them to make them look glamorous (held up by a crane out of view of the camera) and throw a huge light at it to emulate sun or moon light. If you don't have that kind of budget, you need to either use the shots you can get on a limited budget or "cheat". I can do a much more precise job of that masking using different software (Shake is only $500 - cheap compared to equipment rental). I'd get mattes that hug tightly to the tops of the roof and treeline and move with the shot. I'd spend about 10 hours on the one shot making it look just right and it would spend a second on screen before I cut to tighter angles that I was able to light as if they were nighttime and actually get what I wanted in camera. I doesn't spend that much time on screen, no one will be analyzing the shot the way the effects/editor will be.
The instant solution to your problem is to pour money into lighting the shot... the DIY indy solution is to be creative with how you use what you have.
Is that last clip a picture of the actual location? How is the scene going to be edited? How much screen time will the wide shot get on screen?
Cameras want light. If you're going to shoot at night, you have to provide lots of it, because the free stuff is gone and the moon won't be bright enough (inverse square law - it's really just reflected sunlight). You'll have to fake it which is easy to do on tighter shots with cheap lights, but really hard to do on wide shots... which is why indy films never quite look like hollywood films.
Why is this one shot important to your story? What role does it play in your character's development. How long is the piece you're shooting overall? Ask these questions of your self to see if the expenditure to get the one big epic shot is worth taking from the rest of the shoot.
To quote a DP that came and talked at our school: "Someone once expressed surprise at how much light it takes to make it look like night!"
Here's some articles:
http://www.videomaker.com/article/13540/
http://www.videomaker.com/article/8241/
http://books.google.com/books?id=2O...hl=en&sa=X&oi=book_result&resnum=10&ct=result
http://books.google.com/books?id=fR...hl=en&sa=X&oi=book_result&resnum=23&ct=result
I had an article in my head about how to make a forest look right at night in a wide shot (fog in midfield trees, white light raking across trunks in mid field, high angle blue hard light as key to simulate moon etc...) There was quite a bit of light to give the shot depth... don't quite remember where that article was, but it was really quite an imformative piece... lots of light and a huge smoke machine to fill the midfield forest with smoke for the light to catch to give the actors something bright to be framed against.
Thank you, you've been a tremendous help!
Unfortunately, the light generator is a bit out of my budget. I'm broke currently, but I would not mind saving up for something under 1000. I'll try to get creative and figure something out though. My next stop is reading those articles
Why the shot is important to me:
Lynch's works are what influenced this film the most. It has a very surreal story in which every detail means something. That's the idea, at least.
Our protagonist is in an almost dream-like state. He doesn't know where he is, what he's doing there, and where he has to go (if anywhere). Out of the corner of his eye, he notices someone he recognizes. Is he supposed to see this person here? Is he supposed to talk to her? All questions that the audience should be asking. He follows her, but is unable to catch up. Despite her moderate walking speed, he always finds himself absurdly far behind. He loses sight of her, and as if things couldn't get weirder, the sunlight starts to dissapear. In a matter of seconds, it is night. His clean shirt, now bloody. His cell phone ceases to work. There is not a soul in sight.
After wandering for quite a while, he finds his way back home (how does he manage to do this?) -- an empty house, with nothing but a picture frame. The picture is terribly defaced. Unfortunately for the audience, things get even more confusing.
Our protagonist decides to explore this dark and empty world. Where is he going? Why? We're not sure. Walking down a dark road, he sees something in the distance. Is it a group of people? It could be. he decides to investigate. This is where I need the wide shot. Our protanist needs to see them from quite a ways away. That could be done without a wide shot, but I wanted them to all be in the same shot when he makes contact. Our protagonist is on the right side of the screen, and the group is on the left. They are still a ways away from each other when the protagonist realizes that something isn't right about them. During this wide shot, they begin to approach the protagnist.
As you can tell, I might need to fiugre out how to light the walking footage as well. But hell, I can probably do a few narrow walking shots in my backyard, and edit them together to my satisfaction. My problem still remains, getting that wideshot in the street. I need him to notice them from far away, and I also need him to communicate with them with at least 10 meters or so in between them.
Unfortunately, the light generator is a bit out of my budget. I'm broke currently, but I would not mind saving up for something under 1000. I'll try to get creative and figure something out though. My next stop is reading those articles
Why the shot is important to me:
Lynch's works are what influenced this film the most. It has a very surreal story in which every detail means something. That's the idea, at least.
Our protagonist is in an almost dream-like state. He doesn't know where he is, what he's doing there, and where he has to go (if anywhere). Out of the corner of his eye, he notices someone he recognizes. Is he supposed to see this person here? Is he supposed to talk to her? All questions that the audience should be asking. He follows her, but is unable to catch up. Despite her moderate walking speed, he always finds himself absurdly far behind. He loses sight of her, and as if things couldn't get weirder, the sunlight starts to dissapear. In a matter of seconds, it is night. His clean shirt, now bloody. His cell phone ceases to work. There is not a soul in sight.
After wandering for quite a while, he finds his way back home (how does he manage to do this?) -- an empty house, with nothing but a picture frame. The picture is terribly defaced. Unfortunately for the audience, things get even more confusing.
Our protagonist decides to explore this dark and empty world. Where is he going? Why? We're not sure. Walking down a dark road, he sees something in the distance. Is it a group of people? It could be. he decides to investigate. This is where I need the wide shot. Our protanist needs to see them from quite a ways away. That could be done without a wide shot, but I wanted them to all be in the same shot when he makes contact. Our protagonist is on the right side of the screen, and the group is on the left. They are still a ways away from each other when the protagonist realizes that something isn't right about them. During this wide shot, they begin to approach the protagnist.
As you can tell, I might need to fiugre out how to light the walking footage as well. But hell, I can probably do a few narrow walking shots in my backyard, and edit them together to my satisfaction. My problem still remains, getting that wideshot in the street. I need him to notice them from far away, and I also need him to communicate with them with at least 10 meters or so in between them.
I've seen day shots turn completely into night shots in post production, heck I've done a few myself just experimenting with the settings and plug-ins for After Effects, however, the scenes I've done I wouldn't allow anyone to use for production purposes until I figure out how to tweak it a little. So, my question for everyone is, if you have ample light during the day, is it practical to use the lighting and then simply turn it into a night shot in post? Or, does the quality suffer? From the short clips I've seen like from Andrew Kramer from Video Copilot it looks pretty good to me. For Vlad, with his budget constraints, would it be more suitable for him to try and do this night shot during the day and add the "night" effects in Post?
Based on the wonderful advice everyone has given me, I would say that the answer to your last question is an "it depends". Lighting a wide shot during the night is expensive, even you go the DIY route. When it comes to my personal budget constraints, I don't think I can light a wide shot during night. The problem won't simply be getting more lights. It'll also be getting a dubbing microphone, because I don't think I can record any usable sound with a generator running in the background.
My only other viable alternative is to turn day into night. As you can see, I've failed terribly:
http://www.youtube.com/watch?v=INRs2zyxH9k&feature=channel_page
I don't think any amount of tweaking is going to make this look as good as I want it to. Even in the videocopilot tutorial, with the headlights and everything the shot isn't convincing enough for me. Something is off.
For my night scenes, I think I'll simply cut out any wide shots I may need. I'll shoot everything from fairly close, and try to edit it together convincingly.
What are you using to do that D4N (Day for Night) - software wise? The dark grad filter you have across your actor makes it not look quite right... but you can use the luma matte stuff to get that stuck to just the sky. You may also want to add lights to the windows of the house to let people know that the people in the world think it's night time too. I like the blue tint, think it works quite well and makes it look as though it's a fully moon lit night (moon layered in behind upper left corner of screen might sell the shot here).
Heck, I was sold on the last test footage link. Looked great to me. 
Wasn't 'til I saw what Knightly mentioned, about the lack of lights, that I noticed the few off things. Now I can see that, it's difficult to not notice now. Consider me part of that audience that wouldn't notice the details, 'til pointed out.
Vlad, pop over to this thread: FightingOwl's "Night Shift"
She's just finished another short with a lot of day-for-night. It ain't all perfect, but the majority is pretty well done. Check it out, and maybe ask her some Q's or for some pointers.
_______
I remember reading (a long while back) that day-for-night gets a lot harder when you have a lot of sky showing. Probably 'cos in order to darken the sky suitably, the below-horizon areas end up extra-dark.
Have you tried using a horizontal mask in post? It should be fairly simple to experiment with, especially with a non-moving camera.
Just an idea. I've never played with day-for-night myself.
Wasn't 'til I saw what Knightly mentioned, about the lack of lights, that I noticed the few off things. Now I can see that, it's difficult to not notice now. Consider me part of that audience that wouldn't notice the details, 'til pointed out.
Vlad, pop over to this thread: FightingOwl's "Night Shift"
She's just finished another short with a lot of day-for-night. It ain't all perfect, but the majority is pretty well done. Check it out, and maybe ask her some Q's or for some pointers.
_______
I remember reading (a long while back) that day-for-night gets a lot harder when you have a lot of sky showing. Probably 'cos in order to darken the sky suitably, the below-horizon areas end up extra-dark.
Have you tried using a horizontal mask in post? It should be fairly simple to experiment with, especially with a non-moving camera.
Just an idea. I've never played with day-for-night myself.
If you would post a short (smallish) original footage clip... or even a large one (I'd be willing to D-L to play with it). We could have a NIGHT OFF! and see who could make the most convincing D4N effect with your clip that makes you happy with it to see if it's an option. I would agree that the tests aren't living up to your vision, but I'm not sold that D4N isn't an option for you, perhaps just beyond your current experience for editing tricks. Having a couple of folks take a stab at it may teach you tricks you haven't had to worry about yet, therefor aren't aware of.
i still think he can really shoot the shot at night...i see no reason he cant...and nothing any program is going to do that will come close to shooting at night and haveing that contrast and long shadows....
please email me with a drawing of the location...i will draw a map of lighting for you and email it back...
birds eye view please
what you want to do is really not that hard at all...dont give up so easy
please email me with a drawing of the location...i will draw a map of lighting for you and email it back...
birds eye view please
what you want to do is really not that hard at all...dont give up so easy