We filmed in Michael Firus’ kitchen for this exercise. It was good filming there because it gave me a greater understanding of how to film on location and the variables which occur. The 1960’s house was perfect in its look and layout for lighting gear and natural light though the windows. We have previously filmed outside in Project 1 which was ‘basically’ a controlled setup because of the lack of environmental lighting, so it was good use the controlled studio light knowledge inside class and apply it into a real house with a script and actors. Once thing we knew and found was that filming in the daytime, especially in winter, meant the light from outside was constantly changing with the clouds rolling over. We couldn’t really do anything to avoid this unless we had much more powerful lights. Its not too noticeable the fogginess at the start of the scene compared to the end but because we demonstrating our ability to control the light, it is very noticeable that we didn’t control it very well. The windows gave us the majority of light in the scene so it was important that we stabilized the light inside the kitchen and dinning table. We used a number of techniques to give the scene smooth diffused lighting inside. We bounced the LED’s off the ceiling because to avoid hard lighting the subjects. A fog spray can was also used to give the interior a flat atmosphere which was heightened more by the flatness of Michaels camera colour profile. Thinking about it now there are a number of things we could have done to improve the lighting in the scene. We could have setup on stands black cloth to reduce light bouncing around the room. This would have given Michael and Lydia extra darkening and lightening on their face. This was a massively beneficial exercise because im filming a sketch in a similar type room in a couple of weeks. I might be able to take a few trick from this shoot and apply it.