[Bob Cole]

[Todd Terry] ” Right next to the “shower curtain” was this big roll of see-through but dark smokey vinyl… I’m not sure what it’s really made for, but it’s basically a big wide roll of neutral density material.”

I want it. What’s this dark smokey vinyl stuff called?

[Bob Cole]

You don’t want a light anywhere close to the stage, right? If you need a long throw, that’s what an ellipsoidal like a Source 4 was designed to do. Unless your resources are pretty big, I wouldn’t attempt to light an entire auditorium – just use what’s there or rake another couple Source 4’s across the room and call it artistic and exciting and creative.

You could do it with three Source 4’s and dimmers – cheap, long-lasting, great lights. I’m guessing a pretty narrow lens (low number) for a longer throw (podium), and a couple wide angles for lighting an entire stage.

Bob C

[Bob Cole]

[Dennis Size] “I actually use 26 degree Source 4 lekos (full sized) as “eyelights”!”

That is very interesting. Could you say more about this? I’ve wondered about the subtle line that separates an eyelight from a key. I always thought eyelights were very small. In the discussion of the “Cincinnati Kid” big poker scene, there were references to “eyelights” but I thought that they looked like keys positioned right next to the camera. Eyelights and keys at the same time, actually.

David Speace mentioned a dislike for Katie Couric’s floorlight. I kind of like this effect, though it may look better on faces with lots of structure. I noticed in the DVD “Visions of Light” that some famous DPs used a small rectangular light (about 6″ x 12″) attached to the camera, underneath the lens. I’m guessing this is a glamour light, particularly for females, to keep deep shadows from forming under chin, nose and eyebrows. So if this is not an eyelight is it a chinlight?

Bob C

[Bob Cole]

Thanks for that rec., Todd. The LTM focal spot looks fantastic.
I’ve already added that LTM focal spot to my wishlist – traveling “light” looks better every month — and I’ve already got the M series “PATTERNS” (don’t want to get into the Great Gobo Debate) from my Source 4 Junior Zoom.

Do you find that the output is anything close to the Source 4 Jr. Zoom?

[john sharaf] “That’s about what I pay for a complete Source Four!”

True, John, but you have a truck!

Regarding the fragility of the shutter leaves, Dennis is absolutely correct (what an original statement that is); if you push them in they’re quite sturdy. I was a little afraid of that myself, but several years into hauling the Source 4 Jr. Zoom around the country, usually inside a Pelican case with no particular padding except bubble wrap, it looks just about new.

Bob C

[Bob Cole]

[Jarrod Boord] “I am trying to stay objective with this post, but its getting harder and hard with the frustration of having a faulty light that arrived DOA.
I’ll keep you posted if it gets fixed.”

What happened? And what did you conclude about the color correction needed for daylight?

Bob C

[Bob Cole]

[David Levy] “My question, given the previous background, what would be some effective ways that I could match the chart patches in the footage to the correct patch values?
I have spreadsheets for the 16 and 8 bit RGB numerical values for GretagMacbeth’s color chart. “

I just found your post using a Search, because I have the same basic question. I’m trying to remove the color cast from a new LED on-camera light, using the same GretagMacbeth color chart. Could you share the spreadsheet with the RGB numerical values with me/us?

Bob C

[Bob Cole]

Terry, I appreciate your ingenuity. I like your story about the home-made ring light too. Very inspirational.

And I’m also glad there are people on this forum on the other end of the spectrum because I love to learn about new fixtures and techniques. I ran into a DP of a major HBO series a couple years ago, and started asking him what lighting instruments he typically chose. He looked a little bewildered by the premise of the question, and said, “Well, I use everything.” With me, it’s “what can I manage with what I have” but for him, it’s simply “what does this scene need?”

It’s a different mind-set, which I respect as much as the “ingenious class.” I wonder how people who work in major production centers and have access to “everything” keep their focus.

[Bob Cole]

[john sharaf] “Not an open face as much as a point-source!”

Thanks John — I get what Dennis meant now. A fresnel with its tiny reflector is much “pointier” than an open face, right? I have so much to learn in 2011. I think it might take at least a full year.

HNY, everybody. Your generosity with sharing your experiences and expertise has helped me immensely with lighting, which is a part of my work that I really enjoy.

Bob C

[Bob Cole]

[Dennis Size] “…..or just say the “hell with the turkey”, and spend the whole Thanksgiving day off cutting gobos out of all the broiler tins! :-)”

Or use the broiler tins first, don’t QUITE clean them off, and on your next shoot, enjoy the memorable odors of holidays past.

[Bob Cole]

[Dennis Size] “cutting various textures out of heavy gauge broiler pans”

Disposables, I assume. I’ll have to buy the three-pack next for next Thanksgiving dinner: one for the kitchen, two for the lighting kit.

[Dennis Size] “Necessity being the “mother of invention” I too have very often used black wrap gobos in front of fresnels. By the way, you’ll find the texture is “stronger” when you remove the lens.”

iow – turn a fresnel into an open face light?