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HMI and Green screen
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Interesting choices. Why not use the softlights — and/or the Kinos — fo the greenscreen backwall?
DS
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The kino,s are only small ones.. 20w 4 bank.. too small to really do much on the back wall.. the over heads are pretty much lighting the whole thing very evenly and I think would be ok for a key as it is.
The 2ks through silk,or may just bounce them.. will be very soft.. for the closer shot Iam thinking to switch off the big over heads.. and light it as a straight forward head and shoulders interview.. with the one kino as a key.. make it more moody.. it isnt being keyed into an actual background plate.. so lighting continuity isnt a problem.
What do you think?
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Actually a 1/4 minus green …and 1/8 CTO is subtle. Considering the amount of green light already rimming the subject (via bounce off the screen) the complementary pink serves to negate that. I’ve actually used full minus green in my backlights occasionally, depending on how much green spill is polluting the subject. Obviously the amber would do the same complementary thing if you’re keying with a blue screen.
I like adding a “hint” of CTO to my backlights all the time — whether I’m chromakeying or not — depending on the color tonality of the subject’s hair (and hair dye!). It adds warmth to people with white hair, vibrancy to people with blond or sandy blond hair, and a warm reflection (instead of a cold white refelction) off the head of someone with black, dead hair. It’s all subjective, and a matter of personal taste however.DS
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[Dennis Size] “I like adding a “hint” of CTO to my backlights all the time…”
I sort fell into doing something like that by accident myself. Probably about half the time I do tungsten lighting for interiors (usually smaller locations) and about half the time I do HMI. When daylight lighting I have a small 150w HMI that I built specifically for back/hair lighting (very lightweight so in can hang on a grip arm easily).
One day its ballast was acting up and the darn thing wouldn’t strike. I threw up a 300w tungsten Pepper fresnel as a hairlight and was about to gel it for color when I noticed “Hey, that looks pretty good.”
I normally wouldn’t mix the tungsten and HMI, but in that case it was just enough to give a nice warmth to the backlight. I use that setup often, now.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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We are all merely cooks making a fine meal …..adding spices and “special ingredients” as needed to provide that special flavoring.!
One question Todd ….when you used the 300w tungsten — instead of your normal 150w HMI — did you exclaim, “BAM!” 🙂
DS
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This may be too obvious, my apologies, but my training says to counter spill contamination from Green, you gel magenta on a back/rim light, bastard amber is the “cure” color for spill on a blue screen set.
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You are 100% correct Mark ….. but isn’t that what I said?
As a sidenote, one should be careful of specific names and various gel company’s actual products. For example Rosco’s bastard amber #02 (a favorite of mine) is almost identical to Roscosun 1/2 CTO.
Rosco’s #01 Light bastard amber however is a VERRRYYY diferent color — with a lot of pink mixed in with the straw, rendering it somewhat useless as a “foil” to counter balancing the bounce from a blue screen.DS
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Thanks Dennis for the advice. I do tend to warm my backlights often however I also love the look of a cooler, (white,not blue), backlight when doing a warm overall lighting. I’m defintely going to try the 1/4 minus green. By the way, bastard amber is my all time favorite gel.
Mark D’Agostino
http://www.synergeticproductions.com -
shoot went fine.The studio had very nice soft lights already rigged in the roof 4 X 4K.. used Kino Image 80,s X 4 and 5K through a silk.. 2 x Divas to float around for close ups.. 2k back light.
Thanks
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It sounds like you had the perfect equipment complement of gear.
Glad your shoot went well. Thanks for letting us know. Any pictures?DS
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