Dennis Size
Forum Replies Created
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Until you tell us what the fluorescent fixtures you’re actually using are (and how they’re mounted) …. detailed advice can not be given.
DS
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I’m very sure.
If anyone wants to “scientifically” verify it, feel free. (Frankly I never really have, as I’m a go-with-my-gut-instinct sort of guy), You’ll find that LEE 188 is a very close blend of light opal, “faded” 1/4 CTO, and 1/8 minus green.
I’ve been using — and probably over-using — LEE 188 since it first came out over 15 years ago, using it extensively in my lighting design for the OPRAH WINFREY SHOW. I found the tint of minus green, in conjunction with the amber, helps negate the slight “greenish/blue” tint prevalent in the pigmentation of some African/American skin tones…. especially when the camera picks up reflected light off that skin. Countless LD’s I’ve worked with over the years have embraced my use of this particular diffusion.
I doubt if this characteristic would be on the LEE website as I’ve never told them — although I can’t help but think someone would have noticed…. especially since I myself have bought hundreds upon hundreds of full rolls over the years. 😉
As you well know, when dealing with the ephermeral, intangible, visible spectrum we work with, nothing is really very exact. There’s a certain amount of physics and science involved … but we all mold and shape light via “learned behavior”. We copy what we’ve observed light does in nature. In the process of our work — especially when dealing with the variety of sources at our disposal — we experiment and play in our attempts to make our end product even better.
Some of my best “tricks” didn’t come from a manufacturer’s website, but through observation, logic, experience, and lots of luck!DS
P.S. If anyone does verify my opinion of LEE 188 let us know so that I know I’m not just full of shit.
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Me …. harsh? I guess I’ve gotten way too used to working with all the nastiest people on earth (and it’s rubbed off) 🙂
As for his nd filter, we all know it’s because he’s using those “nuclear” fluorescents — and will ultimately need to use layers of nd9 on them if he’s unable to turn off individual lamps.By the way John, did you do Barbara’s upcoming pre OSCAR SHOW this year?
DS
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My 9 year old daughter could tell your lights were at too extreme a sidelight angle.
That is definitely why your talent looks God-awful …the highlights and shadows you’ve created are extremely unnatural.The reflections are a combination of errors. The position of your camera is too far away from the talent as is the relationship of your lighting fixtures to both your camera and your talent.
The number one thing you must always remember (and has been restated dozens of times in this FORUM) is that “the angle of incidence equals the angle of reflection”.What are those 1500w fluoros?
DS
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There are many ways to light one person in a room that size (despite a low ceiling), 1,500watt fluoros wouldn’t be my first choice however. That’s a VERRRYY bright fluorescent. What are they (make, model, number of lamps, etc).
Sidelight is just what it sounds like — when your fixtures are positioned to the side of the object, instead of at a more frontal angle.
DS
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I’d hardly call a studio space that’s almost 30 feet long “cramped”. Why are you putting your camera so far from the talent?
Why are you using the two 1500w fluoros as a key and a fill — while wasting that wonderful ARRI fresnel as a prop?!!
One major bit of advice….. minimize the sidelight angles (a LOT). It’s not attractive.DS
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Wow! John, I’m trembling! 🙂
As always, excellent advice, but I’ve never heard you so forceful and definite. Good for you. Your post almost reads like one of my “snarky” ones! (Well, perhaps not.)If your definitive opinion doesn’t make everyone realize the error of their ways, nothing will!
By the way, while I have your attention ….. appropos of another series of posts — “to meter or not to meter”???!
DS
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Afraid is not a word that’s in my vocabulary. I habitually do so many “untraditional” things (considered bizarre by many), often out of necessity, that my actions often become the norm — and end up being copied by others.
In your particular case, since you’re buying the fixtures from scratch — and not forced to mix and match (the way I often am when sent to many “3rd world” studios) — why would you want to set yourself up for a fall.
Plus, why would you want to have incompatible equipment?
Go with the Diva’s
DS -
Inevitably I almost always use LEE Filter 188 (sometimes 186) whenever I’m using Diva’s (I put the diffusion between the eggcrate and the lamps). The Lee 188 is a subtle mix of minus green, CTO, and opal all rolled into one. It not only softens the light further, but it pulls out the green spike while warming the quality of the light.
DS
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I’m reminded of Obi Wan’s advice to Luke Skywalker in STAR WARS, as he flew into the Death Star with no functional gauges on his instrument panel …”Let the force be with you Luke!”
Although I know many of my colleagues rely heavily on a light meter to finalize their work, and others who use a light meter merely as a guide, I also know many don’t use a meter.
I personally haven’t used one in years. As a matter of fact when I last actually needed one to measure something (and I can’t remember how long ago that was) I had to borrow one, since mine was lost.I would be intrigued to know how many of my colleagues — and devoted readers — at CREATIVE COW really feel the need to have a light meter hanging around their neck to do their job.
DS
P.S. So that you don’t think I’m a total buffoon, I’ll admit that I’ve probably owned at least 5 meters over the years. I just don’t use them.