7 DIY lighting essentials for low budget filmmakers
So you’ve raised the finance for your project, chosen your camera, cast your actors..and you suddenly find that your budget has disappeared in a flash. Where did it all go? Film making can be a seriously expensive affair and sadly certain departments sometimes get neglected as a result. Lighting is one of these departments.
No matter how low your budget is, lighting should never be neglected if you want to create cinematic visuals to be remembered. In fact, here are a list of reasons why good lighting is so important. In this article however I’m going to identify 7 lighting essentials that don’t cost the earth but every low budget camera operator or DOP should be armed with. Sometimes you need to spend good money on kit and sometimes you don’t, but if you’re keen to increase production value economically then read on.
- Gaffer Tape
A ridiculously obvious one but gaffer tape is something that should go with you on every shoot no matter how big or small your budget! It can save your life (in a creative emergency, I have yet to prove this medically!), whether it’s used to rig lights or modifiers onto unusually shaped objects or into areas that are inaccessible for light stands, gaffer tape really is essential. It can also be used to make DIY french flags to avoid lens flare and teamed up with some trusty cinefoil/blackwrap makes a perfectly functioning LCD cover for operating in bright sunlight. Trust me, don’t leave this behind!
And the award for best DIY rigging solution goes to..
Gaffer and cinefoil = budget french flag. Cinefoil is one item you can’t afford to be without on set. This, along with your gels is worth spending good money on.
- Halogen work light
Revealing an ind
ustry secret here. Or maybe not. This item is ridiculously obvious and cheap but the likelihood is that most of us low budget filmmakers probably don’t use them..or at least not yet. If you pop down to your local B&Q you’ll find these useful halogen work lights. At about £10 each these little lights give out a fair amount of light considering their size and use tungsten balanced bulbs which means their colour temperature matches the expensive Arri equivalent. If you have the right colour correction gels then armed with a few of these you could in theory light your whole film.
Of course being cheap means that these little fixtures do have their drawbacks; short power leads, a lack of any way to control the spread of the light and the fact that they won’t attach to normal light stands are the main ones (because obviously film making isn’t what they were designed for) but, if you purchase one of these, and I recommend you get several, you could potentially fill decent sized spaces for little money. What’s more, their handles allow for easier rigging at height than some lights. With a bit of problem solving, and lets face it – that’s what film making mostly is, you’ll be able to find ways to rig, hide and control the output of these lights.
- Polyboard & foamcore
Polyboard is common even on the biggest of film sets
While you’re down at the DIY shop why don’t you pick up some of this too? Polyboard is a perfect and cheap way to bounce light in order to create flattering soft light and fill in shadows on your subject. It often comes in fairly large sizes and in various thicknesses and can be easily cut to size to meet your needs, or at least to fit in your car! What’s more, if you have any black paint lying around then paint one side and bob’s your uncle: you now have a large, lightweight flag to use for cutting light and creating negative fill. Two for the price of one (almost!).
In addition to this your local craft shop will probably stock black and white foam core; both of which can be useful for smaller, more portable bounce boards and flags. Once again this is inexpensive, easy to cut to size and easy to rig. The only downside is any thin layers of card on these boards will be flammable, so be careful using them near hot light sources.
- Spring clamps
Top tip: buying multi packs on sites such as eBay can make these accessories even cheaper for you.
Cheap and cheerful, but where would I be without them? These large spring clamps are cheap, lightweight and a must have for anyone doing any sort of lighting. Use them to attach reflectors or boards to stands, flags and tarpaulins to backdrops and for making green screens taut. Do yourself a favour and get some now.
A quick way to hold up your reflector
- China ball lantern
A beautiful quality of light for certain applications.
China ball lanterns can create beautiful soft light for use in close ups and as practicals. Inexpensive and by using regular household bulbs, china lanterns are a cost effective option over the dearer branded soft fixtures and combinations offered by the likes of Arri and Chimera. They do have a specific use however, their main drawback being that regular 60W or similar household bulbs don’t give out huge amounts of light, at least not for cinema use. To the naked eye their light output is fine but on camera the lanterns reduce a bulb’s output a fair amount. Adding to this, their size and the fact that they’re made out of paper means significant fire hazards are present if too powerful bulbs are used, so you need to stick to the recommended wattage. For larger areas of soft light an Arri/Chimera combination is a much more suitable option which understandably you will need to pay for.
Despite their drawbacks if you’re able to find use for them still china ball lanterns can provide wonderful results. Rig them off C stands or mic stands, ensure you have long enough extension leads and you’re good to go. Watch out for that colour temperature though; some bulbs rate lower than 3200K (tungsten) so will appear warmer than you may like. Once again it pays to have a good selection of colour correction gels!
- Tin foil & baking paper
Tin foil: cheap as chips!
Who’d have thought that every day items around the home could help you in lighting your cinematic masterpieces? The highly reflective surface of tin foil can be used in the same way that the silver side of a reflector is used; to fill in shadows when a white surface isn’t cutting it or to create a bit of ‘pop’ to the image through introducing highlights. Attaching sheets of tin foil to your foam core boards (see above) or even just a sheet of plywood can give you another way of applying contrast quickly, cheaply and without having to hire anything!
No product placement here..
Baking/parchment paper is a good option for when you need to diffuse hard light sources to soften their shadows and reduce the contrast. It’s designed to withstand heat so is ideal for using with hot light sources without risk of burning. So if you’ve run out of diffusing gels and need a quick softening solution, go have a look in the kitchen cupboard or run to the shop!
- Tarpaulin
Protecting a 2K arri fresnel from the rain.
There are many uses for a tarpaulin, many of which may appear to have nothing to do with filming, however the long days on location and the unpredictability of the weather (especially in glorious England) mean that a tarpaulin lends itself to being pretty useful in general on set. For DOPs a tarpaulin can provide suitable protection to lights (and camera) from the rain and from dusty or wet terrain. More importantly, they can also be setup and rigged to act as huge flags, with a host of uses. From blocking out large windows in order to control interior lighting to providing a huge source of negative fill on location, tarpaulins are inexpensive, reusable and portable. If you decide to rig one up on location then make sure you remember your spring clamps! (see above)
Flagging the windscreen of a car to eliminate reflections and any changes to ambient light levels.
These are just some of the useful lighting accessories that can be used in low budget film making. However, as you climb the ladder in your film career, you may find yourself using some of these items on the bigger budget productions too!
Remember that there are certain items you’ll need regardless of your budget; lighting gels and cinefoil are the big ones here. Don’t cut corners on your gels, buy the real thing (I recommend Lee filters) so you know you have high quality, accurate colours and so you can avoid setting anything alight. If your budget can stretch a little or if your professional image concerns you then get yourself a few 5 in 1 reflectors; you won’t regret it.
Hopefully you’ve found this helpful and if you have any suggestions of your own for DIY lighting do tell us in the comments!
