Lighting + Camera Settings For A Fake Darkroom (Red Lighting)

[Ben Barnett]

Hi all! I'm a student. In a few weeks, I am going to be directing my first (ish) short film! I'm aware this is more of a lighting question, but it also has a lot to do with camera settings and cinematography so I'm popping it here.

The script calls for a darkroom set, as in a photography development room, so it will need to have red lighting. I'm constructing the set rather than using a real location (none nearby sadly!) so I'm doing my own lighting. However the camera I am using (Canon C200) is not great for picking up red light and I know if I try to shoot in such a dark space with only red light the image will come out very grainy (have tested this, it is also very hard to expose properly). To my understanding this is because instead of using the full RGB colour spectrum I am only using R, which lets a lot less light in.

I am basically wondering what the best solution for this would be. I think it's possible to shoot in white light and then grade it later (any tips on this or how hard it would be would be appreciated, I am going to be editing in Premier Pro and have not graded before) but I don't want the image to necessarily be all red, as I think a little depth of colour, some hints of yellowy-green and orange, could make the image look better even if it is unrealistic (to be fair, the setting is more a purgatory than a real darkroom, so I am okay with bending the rules if it helps the image). Is it possible to get that level of colour depth via grading, or is it better to shoot with my intended colours? If I should shoot in white light, should I keep it as pure white as possible or would adding colour be fine/better?

Clearly, I don't know much about what I'm doing. Lighting isn't my strong suit and I'm worried about ruining my film with bad, one-note colour... help!

 

[Maura N.]

Hi Ben,

Congratulations on taking on the challenge of directing your first short film! It's great to see your enthusiasm for exploring lighting and cinematography.

For achieving the desired effect in a darkroom set with red lighting, consider a two-step approach. Shooting in white light and then grading in post-production can give you more control over the final look. In Premiere Pro, you can experiment with color grading tools to achieve the depth of color you envision, introducing hints of yellowy-green and orange.

You can also try DaVinci Resolve.

Maintaining a balance between realism and artistic expression is key, especially in a setting like a purgatory darkroom. While shooting in white light, you have the flexibility to play with color depth during editing. Keep the white light as neutral as possible and experiment with grading to achieve the desired mood without losing detail.

For example, I shot multiple "night scenes" using this method.

There's always room for trial and error in the creative process. Take some test shots, explore different approaches, and trust your instincts. Best of luck with your film, and enjoy the filmmaking journey! Don't forget to keep us updated on your progress with Stills, Trailers and maybe even share the Short Film with us when it is ready!

 

[Ben Barnett]

Hi Ben,

Congratulations on taking on the challenge of directing your first short film! It's great to see your enthusiasm for exploring lighting and cinematography.

For achieving the desired effect in a darkroom set with red lighting, consider a two-step approach. Shooting in white light and then grading in post-production can give you more control over the final look. In Premiere Pro, you can experiment with color grading tools to achieve the depth of color you envision, introducing hints of yellowy-green and orange.

You can also try DaVinci Resolve.

Maintaining a balance between realism and artistic expression is key, especially in a setting like a purgatory darkroom. While shooting in white light, you have the flexibility to play with color depth during editing. Keep the white light as neutral as possible and experiment with grading to achieve the desired mood without losing detail.

For example, I shot multiple "night scenes" using this method.

There's always room for trial and error in the creative process. Take some test shots, explore different approaches, and trust your instincts. Best of luck with your film, and enjoy the filmmaking journey! Don't forget to keep us updated on your progress with Stills, Trailers and maybe even share the Short Film with us when it is ready!

Thank you so much for this advice! This is really helpful.
Another quick (hopefully) question: I have a set of shots in the scene where a door opens into the "darkroom" and bright white light comes flooding in, appearing on a character's face. This would be brighter on their face than the rest of the light, and in my imagination this "door" light would be a colder white compared to the red of the room. If I shoot the scene in a neutral white as you've suggested, would I still be able to achieve this effect in post with colour grading? Should I try to make the "door" light a cooler white than the "room" neutral white so it is easier to tell them apart in the edit?
Thank you again

 

[Maura N.]

Hi Ben Barnett,

You're welcome! I'm glad you found the advice helpful. Achieving the desired effect of having a cooler white light from the door contrasting with the neutral white light in the room is definitely possible through color grading in post-production.

When shooting in neutral white, you have the flexibility to adjust the color temperature and tint during the color grading process. You can make the "door" light cooler by adjusting the color temperature towards the blue end of the spectrum, giving it that distinct colder white appearance you're envisioning. Additionally, you can manipulate the color grading to make the "room" light warmer or maintain its neutral white balance.

To make the process smoother in post, it's a good idea to ensure there is enough separation in the initial shoot. This means having clear distinctions between the cooler light from the door and the neutral white light in the room. Proper lighting setup during filming will make the color grading process more effective and give you the control you need to achieve the desired visual impact.

Best of luck with your project!

 

[Ben Barnett]

Hi Ben Barnett,

You're welcome! I'm glad you found the advice helpful. Achieving the desired effect of having a cooler white light from the door contrasting with the neutral white light in the room is definitely possible through color grading in post-production.

When shooting in neutral white, you have the flexibility to adjust the color temperature and tint during the color grading process. You can make the "door" light cooler by adjusting the color temperature towards the blue end of the spectrum, giving it that distinct colder white appearance you're envisioning. Additionally, you can manipulate the color grading to make the "room" light warmer or maintain its neutral white balance.

To make the process smoother in post, it's a good idea to ensure there is enough separation in the initial shoot. This means having clear distinctions between the cooler light from the door and the neutral white light in the room. Proper lighting setup during filming will make the color grading process more effective and give you the control you need to achieve the desired visual impact.

Best of luck with your project!

Thanks so much!