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How to lit up a scene like this?


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You can't see they used backlights, because they didn't!


That's surprisingly easy to do in After Effects and to a degree in the usual popular editors. Colour replacement is quite advanced now - you pick a colour and then tell the software to change it, and it gives you amazing control over the hue, saturation and shading. You could change the colour of a football strip, or make all the leaves on a tree orange to suggest autumn. The variable is time. The basic effect is easy, but then you get left with tidying the edges and putting right areas where the colour went astray. The important thing, and the only real job of the lighting is to be even and similar levels. The software that did the warp effects also did the colour changes. No blacklight needed, and anyway it wouldn't work very well because the colours of the fluorescing materials would have been fixed, not able to be varied.


I'm surprised you even thought it was UV?


Watch this.

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I'm wondering if OP was asking how to achieve the same sort of look in real life, given that his question was 'how to' rather than 'how did they'


The answer is you could, but you'd need some carefully-placed lighting. You can reproduce the colour palette with a mix of pastels and stronger colours but be wary you'll need some key light for faces. A mixture of something like L120, 363, 175, 200, and the old favourites L115 and L132 might get you somewhere near. And yes, for real-world you'll want to use UV floodlighting.


To get the floor look, you can get UV reactive paint that glows bright cyan. I've used it for creating tron-esque bits of set and it worked quite well, although old-skool UV cannons don't produce the greatest look, so you might look at a load of LED fixtures.


The others are right in saying that this would have been green-screened. To achieve a background without shadows, without the aid of computers, you need to ensure your walls are as bright as the object light. You could cheat this, and place LED tiles behind a very diffuse filter, but that depends on your budget. The illusion of depth is a camera angle trick, it's roughly at waist height and pointed upwards.


As for the ceiling, well you are a bit stumped there. That's how they've hidden the lighting grid post-production. In the studio you'll most likely find a load of top light. I've used Kino Flo in the past as they make tubes specifically designed for green-screen applications.


Is this any help?


All the best


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Bearing in mind who the client is, this probably had a budget that would make a short drama series (or pay an international footballer for a month).



It is lit with very soft lighting which is what gives the people that unnatural no-shadow look.



Think American newscaster.



Edited by sandall
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Big soft lights used to be called fish fryers after the huge fume hoods over a deep fat fryer -probably the opal was 8 ft by 4ft of opal plastic and the container was the size of a bike shed roof. -They were hugely heavy and if big enough to be soft lights were too big to manoeuvre, they were replaced by 8ft x 4ft sheets of foam polystyrene used as reflectors, then these were replaced by huge tent sized soft boxes with white sides and the lamps inside.


With modern advertising beware that it may be entirely 100% CGI or bits may be CGI containing some live imagery.

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