Comments

rmack350 wrote on 11/16/2007, 9:39 AM
Thanks Mike,

This is a good presentation. The only point I dissagree with is the relative reliability of Flo's vs tungsten (Given a pile of 20 flourescent fixtures and 20 tungsten fixtures, I'd expect more of the tungsten units to work, or be fixable with a bulb replacement). I'm a big fan of tungsten lights because of their flexibility and general usefulness.

I'm glad to see the word "blocking" somewhere in the presentation. It's a concept that's hard to get some documentary shooters to consider.

Rob
CClub wrote on 11/16/2007, 1:12 PM
Yes, thanks, Mike, for the link.

I have a question for the lighting experts among us: when trying to set up for the "Rembrandt lighting" look, what height/angle toward the subject would you set up the key light? I seem to either get the nose's shadow sliding directly across the cheek or else only about 1/2 way down toward the left edge of the lip. I can't get the effect where the nose shadow goes down low on the side of the face and the only lit area on the left (or right) side of the face is the "triangle/diamond" area.
rmack350 wrote on 11/16/2007, 2:03 PM
When I get flummoxed by things like this I take the light off the stand and move it around by hand until I find the spot, then I put a stand under the light. Helps to have a grip with you, or a cameraman who can actually tell you what he's seeing.

Rob
jazzmaster wrote on 11/16/2007, 2:40 PM
It's been my experience to never shine light directly on the subject, even with a filter. What I do is put two 1K's about four feet off the floor and shine each of them on a 4' x 8'' pice of foam core about 6 feet off the floor held on a C-clamp stand which tilts them -- and the beams -- toward the subject. Then put in a filtered back light and you have it. Place the camera between the two 1k's. 2K's are even better.
Burt
Soniclight wrote on 11/16/2007, 6:28 PM
rs170a

Thanks for the link. I don't have the time or space to get into it all right now, but I'll definitely give it a more serious study in due time. I've saved the .pdf

As usual, the Vegas board is acting as my unofficial film school with links and info like this. Viva Vegas people :)
Grazie wrote on 11/16/2007, 11:27 PM
Fabulous wealth of ino there.

It is GOOD to see written down WHY one does a particular setup not just the technical HOW. Explain WHY we do something then often/mostly the HOW is as natural as the story one is trying to depict.

In my first early learning steps in this craft of lighting, I have, for budgetary reasons, kept things "simple". And you know what? This "lean & mean" approach has assisted me in how I light now. That, and Vic Milt's "Light it Right!"

Having just concluded a 9 minute piece of a chap talking to camera, interspersed by B-roll cutaways, I'm still real pleased with my Rifa 300wat and my bull-nose Lowel & dimmer. I use these in conjunction with 2 reflectors: 1x3' WHITE and 1x2foot GOLD. I have never, as of yet, done direct to interviewee lighting, favouring bounce from ceilings and/or my reflectors.

I'm still learning.

Great find that site,

Grazie