Bob Hart
January 23rd, 2008, 11:48 PM
This is an old one and probably well answered previously, so links to old threads would suffice and be appreciated if anyone has them conveniently to hand. I had saved some of my own but they went to heaven along with the last computer when something malevolent came down the power lines.
The scenario is a light aircraft landing in darkness without lights operating on an unlit bush strip in moonlight.
For obvious safety and air-legislative reasons, you do not ask people to land aircraft on unlit strips without landing and nav lights operating, even assuming they were mad enough to do it.
This leaves CGI and day-for-night as the options. For large aircraft, CGI and models seem to work but for light aircraft - not so good.
My imaginings are, shoot sun-high in clear winter day for best contrast, attempt to artificially overlight foreground subjects like humans to appear as if lit by a low level source in darkness, not to use black stretch, shoot for best contrast and not attempt to underexpose the shot, except perhaps to exploit audience knowledge of low light artifacts like grain associated with both digital gain and high speed film low light origination.
Any off-top-of-head advice will be appreciated. I will continue to do some research of my own.
The scenario is a light aircraft landing in darkness without lights operating on an unlit bush strip in moonlight.
For obvious safety and air-legislative reasons, you do not ask people to land aircraft on unlit strips without landing and nav lights operating, even assuming they were mad enough to do it.
This leaves CGI and day-for-night as the options. For large aircraft, CGI and models seem to work but for light aircraft - not so good.
My imaginings are, shoot sun-high in clear winter day for best contrast, attempt to artificially overlight foreground subjects like humans to appear as if lit by a low level source in darkness, not to use black stretch, shoot for best contrast and not attempt to underexpose the shot, except perhaps to exploit audience knowledge of low light artifacts like grain associated with both digital gain and high speed film low light origination.
Any off-top-of-head advice will be appreciated. I will continue to do some research of my own.