[Dennis Size]

Now that’s just plain funny.

DS

[Dennis Size]

Yes …..and no. Without knowing the type of architectural fluorescent ceiling trouffers that are installed — and the designated lamp — it’s hard to say. (You’re asking the doctor over the telephone what’s wrong with your lungs because you’ve got a cough.)
As Mark has advised you, if a better CRI lamp doesn’t exist, color correction media (polyester/mylar film) can be applied to either the lamp, or the plastic lens cover, to balance the color of the lamp for video.
That’s not the big issue however. Your on-camera subjects will still look like “thugs” because they’re being lit from the wrong angle. The basic rule of thumb is to light from the direction the camera is shooting. Unless your cameras are mounted on the ceiling — shooting down on your subjects like the light is — then your light source position is incorrect. You need to correct for that. “Toplight” is the worst possible angle to light people on camera.
In addition to color correcting your architectural ceiling fixtures, you should augment that room lighting by adding some sort of video-conferencing lighting fixture from a shallower angle — lighting your subjects more “frontally”. I would suggest adding a fixture like the KW/2 #LF124 ….balanced to match your existing room lighting.

DS

[Dennis Size]

Since you’re renting lighting, then just bring in one helium balloon light. The double 1.2kw HMI or double 2,000w watt unit will be all that you need for this event. Fly the light up to about 18 feet — 15 feet in front of your choir — and in an hour you’ll be ready to shoot. Two smaller units on camera left and right (from the front) would be ideal.
If you’re so inclined, use a diffused Source 4 PARnel, or 2, (or even a 2kw fresnel) on a stand next to your camera to provide some frontal/directional source lighting… or a 10 or 19 degree leko, or 2, on a stand from the balcony loft (if there is such a position, and depending on how far away it is).

DS

[Dennis Size]

Sory for the late response. Your post “fell through the cracks” of my crazy life.

Commando cloth will certainly work….you may find it a bit heavy. There are nine different greenscreen materials for you to choose from. Look under “keying fabric” at the following link.

https://www.rosebrand.com/subcategory178/fabric-by-use-keying.aspx

Check them all out …then call ROSEBRAND for their advice. They may also be able to send you a swatch for your inspection and testing.
Once you make your choice, they will custom fabricate whatever size you need — with whatever hanging methods you’d like. The norm is grommets and jute/burlap with ties at the top with a pipe pocket at the bottom.

DS

[Dennis Size]

This same issue was discussed a year ago in the Lighting Forum.
For further info check back to the subject below on January 21, 2008.

background muslin color?
by Ty Ford on Jan 21, 2008 at 6:04:17 pm

[Dennis Size]

Your assessment is 100% correct!

…but isn’t this REALLY the topic!

DS

[Dennis Size]

Now THAT’s funny ….. but it’s so typical.

Speaking of blue, and eyes rolling around in one’s head, last month I did a redesign of the O’REILLY FACTOR for FOX NEWS. The background scenic elements were a woodgrained wall, a gray backed etched plexiglass full of FOX logos, that framed an LED wall, and an RP Screen.
Bill O’Reilly’s head was centered in the LED wall for his close-ups. When guests were on set the RP screen was the center background element. I suggested we use a warm blue in the LED wall to make Bill’s head/body “pop out”, and to flatter his eyes. Bill loved it but didn’t like the amber woodgrained walls, so the Producers asked me to make them blue — but with colored light. Paint’s so damn expensive you know! 🙂
(It’s tough enough to make warm amber wood blue; but I did … with LOTS of light).
That was a big hit, so — since nothing succeeds like excess — they then asked for all the elements to be blue.
Now Bill is swimming in a sea of “tone-on-tone” blues, with absolutely no delineation between all the expensively crafted elements in the background. (The etched plexi wall of logos was only about $10,000.00 ….. and you can barely distinguish it!)

Is this a crazy business or what?
DS

[Dennis Size]

Very pretty Todd!

I think for Stan’s purposes however he should add a layer of blue gel to the backdrop light …just to “wash down” the texture a bit while making the whole background “richer”…… I’d use a Roscolux #68, or perhaps the gutsier #80. Of course, for a more subdued look, one, or even two layers of Full CT Blue could be used.

DS

[Dennis Size]

You’ll find that blue will service you well as a background behind just about any flesh tone. You could just go with just a soft blue drape but texture will relieve some of the “boredom” of a boring flat blue color….. hence my suggestion of the scumbled blue backdrop. My only quibble with the drop I suggested is that it might be a little too “busy” — and too dark. You don’t want the background to distract from your foreground subjects.
You could easily create what you need using the drop I suggested as a “concept”.
Just go buy a hunk of blue fabric, some paint, and a few cheap Par cans to “slash” your slightly swagged creation.
Have fun with it. If it’s too overpowering just tone down the amount of light on it.
DS

[Dennis Size]

This should work nicely…..only a little bit lighter and more blue than this picture depicts..
DS