Dennis Size
Forum Replies Created
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Whew….another dilemma solved here on the Forum.
The next — and more important — step is to make sure the terrible lighting on the talent gets improved.
DS -
It’s interesting that there’s so much controversy over the greenscreen itself when the lighting on the talent is “God-awful” to begin with. If the talent were anybody important no one would really care about the greenscreen — they’d be worried about their talent walking out because they look so bad.
To throw my 2 cents into the mix however, I agree with Mark. I can’t believe it’s the reflective system either.
This just looks like badly lit (perhaps with the white LED ring lights) greenscreen. That seam is too obvious, and I’ve never seen anything like that when using the system. It actually looks like the two piees of green fabric were sewn together with the nap running in opposing directions.
I also didn’t think the system could work with 2 cameras cross-shooting. Please post the shot from the reverse camera angle.DS
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Don’t buy this extension.
Buy a a more “universal” extension with a pipe clamp. A 5/8″ baby extension will also take a mafer clamp — the better way to go.
You’ll only need the 3/8″ adapter to connect the light with.DS
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Unfortunately you don’t have the room for spacelights — which would be ideal — but since your ceiling height is so small you could also try Chimera pancakes ….which I’ve had great success with.
DS
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Hmm…. I sure as hell hope so.
DS
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I’ve done several white cycs (not to mention greenscreen cycs) over the years. Two lights would certainly work for your little backdrop — if they’re 8′-0″ x one or two lamp Kino Flos.
If you don’t have AC or power problems do it the “old fashioned” (and CHEAP) way — with inexpensive scoops, or cyc lights.
I’ve posted a couple photos showing an infinite white cyc I lit for the ISSAC MIZRAHI SHOW (Oxygen Network). If memory serves, I had about 30 double cell cyc lights; but I was also 18 feet high and about 50 feet long.Dennis
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There are certain reasons why you shouldn’t ….but it doesn’t matter. Knock yourself out and have fun.
DS
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Remember, you need to find the perfect balance between the backlight behind the easels (which will certainly make them “pop”) and the frontlight neccessary to allow the colors to “read” properly. Be cautious that there’s not an excessive amount of backlight, otherwise the painted areas turn into silhouettes, and your fluorescent color will be wasted.
DS
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Jason’s idea is truly perfect! Hopefully you can manage it.
I would suggest using ellipsoidals (lekos) to backlight the canvases. The best choice would be an ETC 50 degree 750w Source 4 junior on a base plate behind the painting. It has a lot of punch and you’ll be able to shutter it very nicely into the frame of the canvas.
You’ll want to put each canvas/leko on it’s own dimmer so you can control each work of art separately.
I would also suggest using a very soft wash as your frontlight. Since I doubt that the space has any fluorescents, or softlights, you should make a diffusion flat, hang it overhead, and focus your PAR Cans into it. You could also get a large piece of silk or lightweight muslin, stretch it overhead and light your painters/canvases via PARS focused through the fabric.
Another helpful gimmick would be to mix some fluorescent colored paint in with the paint colors your artists use. That would help reflect the colors back into the camera and nullify the normally flat looking colors.Do some testing and have fun with it.
DS