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Muslin Background
Hi, This question has more to do with how to make the Muslin look interesting, than actually lighting it, and since the result is that the Muslin gets lit, I thought I should post here. So my question is; are there any sites, tutorials on how to set up the Muslin to make those interesting backgrounds you see on Network TV, with pleat, fans or folds if you will.
I did happen to see a camera crew do this years ago and they used clamps, but can’t recall exactly what they did. Once I have the background set, I’ll light it using gels. Thanks for any direction with this.
Jeffrey S. Gould
Action Media Productions -
22 Replies
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Have you ever seen the process in which a model spends 5 hours getting her hair and make-up meticulously done for a shoot? Then 30 executives come in to sign off on her “look”, and delicately adjust a wisp of hair here and there as though it were nitroglycerin. On her way into the studio she then bends over, shakes her head like a hose gone wild spraying water all over — while running her hands madly through her hair — creating that unique hairdoo that looks like she just parachuted in from 25,000 feet!
This process is similar to the one you should use when adjusting your muslin backdrop prior to lighting it.DS
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I assume the analogy you are trying to get across is that each one is unique and I should just experiment. I agree, but there is a certain style that I saw and liked and wondered if anyone knew how to get there quickly. I realize there is no right and wrong. Thanks.
Jeffrey S. Gould
Action Media Productions -
The point of my little analogy is that you shouldn’t belabor it. Take your muslin, bunch it up into a little ball so that it’s loaded with wrinkles, throw it up into the air and rely on the wonderful quality of random pockets of shadow, darkness, and highlights that will be created to make their magic. If you plan it too much, you will ruin the “spontaneity” of the look.
Remember also: a little light goes a lonnng way, and use MINIMAL front light.DS
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Hi:
Another thing to consider is that muslin BGs are kind of out of style as far as interviews are concerned. Usually these days when I see a muslin BG, I think, “older show” or “low budget corporate”
I have shot thousands of them but honestly, I think that the look is quite passe’ these days.
The main mistake that people make is not enough distance between the muslin and the subject. You need a minimum of 10′ and better yet would be 20′ between the muslin and the talent so that the muslin does not receive the spill from your talent lighting, you must light the muslin separately. I tend to use a lot of uplighting to accentuate the valleys and canyons. Or I rake across at an angle with a larger instrument shot through a celo cucloris to throw some breakup patterns onto it.
As far as “the look”, three C-stands. The ones on the left and right, fasten the muslin and raise it on either end about 8′, Fasten the muslin to the grip head in the center. Leave a lot of slack between the left and right so that when you raise the middle C-stand higher, you will get some nice canyons and valleys vertically. You can enhance these by clipping the pleats with a C-47 or small grip clip where needed to get the pleated drape effect.
Seriously though, no matter how well you light it and set it up, muslins look kind of cheesy these days IMHO. How many do you see on television? Not very many these days.
Best,
Dan
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Thank you for the replies. Since the new ID channel, which is mostly crime solving shows has come on the “air”, I’ve seen them a lot. Whenever possible, I always try to use “real” backgrounds that represent the on camera persons position or career, but that’s not always possible and not every location you go on is camera ready. So it’s nice to have an alternate and I prefer the pleated look to the wrinkled look. A photographer friend of mine saw an online study that showed that most clients do not like the Muslin wrinkled.
I did a photo shoot last week and steamed out the wrinkles, as the background had a beautiful soft pattern and the camera really picked it up. When I do use backdrops, I use egg crates on my talent to keep the light off the background and light it separately. Thanks for the setup tutorial. So what does everyone else use when the only location you have is the back of a warehouse?
Jeffrey S. Gould
Action Media Productions -
Invest in a few Source 4 Ellipsoidals (lekos) and a variety of metal template break-ups. They will be your best friends.I would recommend the Source 4 Jr. Zoom (wide angle).
DS
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Actually I have a great product, might be called “light breaks”, they are acetate with black printed patterns on them such as trees, window pane, random… you attach with the included frame to a C stand and shine a light through it. It’s great, as long as you have a decent background to start with. Thanks.
Jeffrey S. Gould
Action Media Productions -
Hmmm? two stands, limited acetate cuks mounted on a frame, plus a lighting instrument, more gak, more space with a limited throw distance — versus one light, one stand, hundreds of pocket sized templates to choose from that can be projected from further distances (even onto a warehouse wall).
Your choice.DS
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Was just telling you what I had and making conversation…not that it was the better way.
Jeffrey S. Gould
Action Media Productions -
In this crazy business, often the better way is not “the best” way for a particular job. One of the things I love most is the spontaneity and freshness each lighting job brings. What I enjoy most is how I can light the same exact dumb thing hundreds of times — but in a different way …..using different equipment and design process.
The main point I’d like to leave you with is that you should not lock yourself into any one particular method — be it duplcating the precise way SOMEONE ELSE creates their ripples on a backdrop, or the use of one gimmick, instrument, technique over another. Disocver, play and learn your own methods. Ultimately it’s the end product and how it pleases the client — AND YOU — tha’s most important (and lately I find I am more interested in pleases myself — which almost always results in a happy client).DS
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