Video Production
Adrian Wong-Ken
by Adrian Wong-Ken
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Lighting Diagrams and Shot Design - The Lemonade Stand (2 of 3)

Lighting Diagrams and Shot Design - The Lemonade Stand (2 of 3)

The Lemonade Stand (Diagram 2 of 3)

This is part two of three of a lighting and camera setup blog for a series of short videos Dirigo Design & Development produced. For part one click here , for  part three click here .

Watch the final product!

Lemonade Stand Diagram

Legend: Lights are numbered and Cameras are Colored for reference in text. Frank is indicated by a blue head. Click on the image link to pull the diagram into a new window to look at the images side by side.

Roommate Stairs

Camera Red:

Frank points towards the lemonade stand sign above. The camera is mounted on a Kessler CineSlider giving a slight dolly left movement. We used the Panasonic GH4 loaded with the Sigma 18-35 lens at 25mm with the NIkon mount Metabones Speedbooster . Light #1, was rigged with two an Ikan ib1000's with no diffusion and shot at half power and at 5600k. The natural lighting was very flat and we needed to give shape to our actors faces. The two lights, mounted on a triple header, were separately angled to light the little girl and frank's face. Off to camera right, indicated by light #2, is an Ikan IFB576 , also at full power, this acted as a rim light for Frank.

​Camera Green:

Frank CU

The little girl holds out three pennies. This scene was shot towards the end of daylight, we needed to increase the intensity of the lights mounted on #1 to maintain our brightness levels. We continued to use the Sigma 18-35 at F1.8 using a Tiffen variable ND filter to keep exposure set properly.



Camera Blue:

Roommate Chicken

This final reaction shot of frank was shot at the beginning of sunset. We arranged the LED lights to keep as much daylight balanced light on our subject as possible as well as tilt one of the lights towards the house in the background. By keeping the close to Frank during sunset we were able to pull off the illusion that the lighting remained consistent throughout the shoot. After a quick trip to DaVinci Resolve we pulled back the purple saturation in the sky and balanced out the color shift from the sunset.

Check out the next installment of this blog, read part three, The Cosmetic Test .


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