[Adriano Castaldini]

I’m still in doubt. My bad: being a newbie, there is the risk that I can’t explain exactly for which kind of shot I’m searching lights, and consequentially which kind of light I really need.
In these days I see many video tutorials about lightning a scene, but most of them refer to interview sets or similar, where the lights are the only/main way to illuminate the talent.
In my case, I think something is different. Let me try to describe my scene:
My shots is indoor, but not in a studio, instead in a regular house, with natural light from the windows, and with the light from the
chandelier or the ceiling light. I consider all this as “ambient” light (I don’t know if is the right word). In this situation, most of the time the talent is not perfectly lighted (the face is shady, or the face as too much contrast and needs for compensation, or the face is lighted but without “accent”, etc.)
So what I’m searching for is a light (or a couple, I can’t say) to give compensation or accent or softness (softbox?) to a yet lighted scene.

From this point of view, do you confirm I need a >1K tungsten light or the couple of LED panels? Or my description has changed something?

Thanks again.

[Adriano Castaldini]

Well, thank you so much! It seems that the price is good.

1. These are a couple, so do I consider to use one as primary and the other as fill, or to obtain a primary adequate strength do I need to use both in couple as primary?
2. Do I need softbox with this kind of lights?
3. You wrote that “cheap tungsten reproduces the full range of color but need more power”, well I’d use the light only indoor, and power is not a great problem, so can you also recommend a couple of tungsten lights kit?

Really thanks a lot!

[Adriano Castaldini]

Thanks for your reply Blaise,
yes my framerate is 1/50 with 24fps.
Please, be so kind to give me same examples of a good LED panels (+ softbox), and same examples of adequate tungsten lights (+ softbox).

I saw a priced Manfrotto Lykos bi-color panel (https://www.manfrotto.us/lykos-bi-color-led-light) + its softbox. Is it a good one? Has it enought power to be the main light of a minimal one-light kit? Let me explain: I have never got a light, up to now I used only natural light, but in the last work I felt the need of adding light. What I have in mind is to begin just with one light to start learning, so I’m searching for a “versatile” light, but also easy to move (I’m a one-man-crew unfortunally).

So, if you can give me some advices about a portable and versatile single-light system kit.

Thanks for the appreciated help.

[Adriano Castaldini]

Wow… Smart solution! Thanks so much Mr. Tomkins

[Adriano Castaldini]

I think I found the answer by myself…
I CAN’T control Camera Raw settings of a Timeline containing a nested pre-edited raw-clip! It seemed possible to me because if your mother-timeline contains both raw-clips and timelines (with nested clips), Davinci activates the Camera Raw settings, but it’s a fake: if you try to modify the raw settings of a nested clip, Davinci crashes.
So, I will continue to make my little timelines nesting edited clips, just for maintain a certain order, but once I will put all the pre-edited clips together I will surely copy&paste each clip from the little timelines to the final timeline.
I hope that this info could help someone.
Thanks.

[Adriano Castaldini]

Thanks for the quick replay, Mr. Owens. But surely I badly defined my question: what I tried to ask was simpler in my mind.
Let me try to better formulate my question:
We have 2 case:
1. Let say you are in Edit tab, you have a timeline (we call it mother) full of raw-clips, and you go to Color tab for changing some Camera Raw settings.
2. Now let say you are in Edit tab again, but this time your mother-timeline is full of many timelines (previously done, we call them children: they contain previously edited clips), then you go to Color tab for changing the same Camera Raw settings.

My question is: which is the difference between changing Camera Raw settings in Color tab directly to the clips, or to timeline-nested-preedited clips?

I ask this because for my (first and surely artless) workflow I prefer to edit any clip into its own mini-timeline, and then add all these mini-timelines together into a bigger final timeline. But my doubt is: when you apply some Camera Raw settings changes to a timeline (instead of a clip) do I obtain the same result than applying the same Raw changes to a clip?

Thanks really a lot for your patience.

[Adriano Castaldini]

Thanks a lot Mr. Flutter!

[Adriano Castaldini]

Thanks a lot for your SUPER-fast reply, Mr. LaRonde. And thanks for your good advice.

[Adriano Castaldini]

I must admit that you’re right. Stabilization means a lot of money for a zero-budget production… Anyway, I’m doubtful: Steadicam, Gimbal, or Rig? I can’t buy everything, so I’m looking for buying something good for this project and also for (many other) future projects.
A gimbal (Moza Lite 2) seems the best for stabilization, and you can mount extra monitor and remote focus controller on it, but it seems to me that you have more “direct control” and “dynamic changes of movement” with a cheaper Steadicam (Glidecam DGS). Both steadicam and gimbal are heavy for my thin arms, and will surey imply a support vest in a near future, but the steadi-vest is only half the price of a gimbal-vest. Maybe I’m wrong, but I think that a good use of steadicam gives near the same stabilization than a gimbal. The only problem I see with steadicam is the lack of focus control (no extra monitor and no thumb remote focus for weight reduction), but I think that this feature can be add in the near future buying a vest.
There would be a third option in my doubtful mind: the Edelkrone RigOne. It’s a simple rig, just to add monitor, microphone and follow focus to your camera. It’s not actually a stabilizer, but you can shift the burden of the rig on the trouser belt, so you can obtain a sort of stabilization. I don’t know if this could be useful on a stairs-longshoot.
What is your advice? (Thx.)

[Adriano Castaldini]

Michael, thx for your reply. Yes, I agree with you. Perhaps a good strategy is NOT stabilize the shot with gimbals or else, but maintain an handheld shaky style to edit without noticeable steps. Do you agree?