How we shot front projection.
In our last four weeks of shooting, We were in one of the largest soundstages in Sweden, located at Swedish television’s headquarters in Stockholm, shooting front projection and this was our final set or rather sets, because there were a few different environments that the story will take place in.
So how do we go about this. To be honest this has been one of the more tricky sets to light in my career. I was fortunate to have an old good friend as my gaffer to make this happen. For this set-up we first hung two 20×20 frames with white solid and one 20×20 with Ultra Bounce. As a backlight that some times acted as our sun we put two ARRI 12K Tungsteen on the right and left corner of the studio. For fill light we bounced two ARRI 5K Tungsteen from each side in to the white solid in the ceiling. We used dimmers on the 12K so we could dim down to a level we liked. We also put a 1/2 CTB, when you are at those low levels it gets a little too warm with tungsteen. On the ARRI 5K we put full CTB because I wanted the ambiance to be a bit colder. We had two 12×12 White solid and two 12×12 Black block on standby. We also used, flexlight 5600K, Dedolights to do some touch ups when needed.
After the first day of shooting I added two Blondies on each side with chimera and fabric grid to use as a more adjustable fill light. Since we didn´t have the time to do a more in depth test, the first day was a little bit of a test/shooting day. But in the end everything worked out great! We had two different environments, one very dark and moody, the other one was a much brighter one. I thought as soon as we pass the darker location it will get much more easy, last famous words, it was a bit harder but we got it to work and it looks really cool.
Check out the article Panasonic did with me and one of the directors, Oskar Mellander. There you get a more in-depth of the process.
Can´t wait to show you guys the end result.
Here is a lighting scheme that you guys can check out.