The client wanted contrasty toplight against seamless white, and then they wanted to intercut that with stock footage shot on film. Thanks to Arri's Alexa, what the client wants--the client gets. In spades.
I've done a number of different styles of lighting against white limbo backgrounds: flat frontal, rear 3/4, big soft source from the side... but when creative director Justin Curtis of agency GYRO:HSR told me he wanted contrasty lighting from above, I was intrigued. Many assume that because the background is white limbo the foreground lighting has to be big and bright, so it was refreshing to hear someone say that they wanted dark noir toplight.
Watch the video first, and then I'll talk about how we did this.
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