[Dennis Size]

A dozen Source 4 Junior zooms — with stand hardware AND hanging hardware — (along with an assortment of metal templates) should service you just fine.
Of course, a lighting designer and a good gaffer will also be required.

DS

[Dennis Size]

It’s over already?
Wow …. guess it wasn’t THAT important.

DS

[Dennis Size]

No suvey I guess!

DS

[Dennis Size]

About a dozen years ago I lit a virtual children’s show called “The Wubulous World of Dr Seus”. We used a verrry large RP screen rear lit with colored fluoros (the green Kino tubes are ideal).
The big issue is that you need plenty of distance from the screen to the talent otherwise two problems occur:
1) The light from behind becomes so strong the RP becomes a big backlight, creating a green “rim” around the talent ….. making a clean key difficult, and
2) If the talent is too close then the front light will wash the color of the screen entirely …rendering it gray — and very difficult to key.

DS

[Dennis Size]

Are we the ones who are guilty of requiring “extra stuff” — or is it the Producers, Directors, and clients who demand the all the bells and whistles ….. and want to show the world that they can do the next BEN HUR?
DS

[Dennis Size]

Very nice…and at only $250 !!???
What are the photometrics?

DS

[Dennis Size]

Yep….. unfortunately.
All I need is to have my budget elevated to the status of meager, and I could actually do something worthy of a Royal Wedding.
The studios I’ll be doing in London won’t be that much different from “run and gun”.
Be sure to post your stills from “Best of Class”. What kinds of gobos are you using?
Thanks
DS

[Dennis Size]

Sorry John ….I tried to hold back as long as I could. 🙂
Thank you for responding and providing the “voice of reason”.

DS

[Dennis Size]

MARK…. that was an extremely well written and “dead-on” post…. BUT
those accountants and bureaucrats that you speak of can’t read (or WON’T read) — nor do they care.
The state of the industry is in an economic shambles and since the control has gone to the bean counters, whether something looks good or not is immaterial — ESPECIALLY at the higher (supposedly) Network level.
All I hear anymore is “we don’t care what it looks like”! Sadly, they don’t, and it shows.
I’ve been asked directly many times lately, “Will bad lighting stop us from getting on air?” As we all know, it won’t. Unfortunately these bureaucrats have the artistic sensibility of a rock, and wouldn’t know the difference between good lighting and bad! This is the crux of the problem.

We’re currently prepping the lighting for the ROYAL WEDDING coverage for a few Networks, and it’s downright embarrassing how minimally we’re having to light Network “superstars”. It used to be that if a quality image wasn’t presented to people they didn’t watch the product. Broadcasters would never send out the type of visual garbage that is currently considered acceptable.
Now,in the age of youtube, phones, laptops, ipads, skype, and other hand-held device viewing, the acceptability of what people will watch has been erroded to pure crap.
Artists such as us, who work with and craft the visble spectrum known as light are being put out to pasture. There’s no convincing bean counters of the need for good lighting …THEY DON’T CARE!
DS

I’d love to hear what John Sharaf thinks about this sad state of affairs!

[Dennis Size]

That’s a lot of white. But it’s certainly a concept; and defintely “high fashion”.
There are as many different ways to do this as there are people posting on this FORUM.
My choice would be to use dark brown or midnight curtains and use light sources as a visual element. Since there’s not enough money to use fiber optic curtains, I’d put dozens of “camera candy” lights (booms with PARs or LED’s, include strobes) in front of the curtains, shooting at the cameras.
I’d light the models along the runway, on both sides, from the floor with striplights (4 color circuit MR-16’s or LED strips such as Color Blaize). If that were too much (power, cost, complexity), then a simple linear run of 8′-0″ mega single Kino tubes (without the housing) on each side would also be stylish.
I’d key and side-backlight the models with folow-spots, using a triangular arrangement …two fixtures shooting over the curtains in the rear corners and one downstage center (right over your center runway camera). Operators would be on ladders. Simple 19deg lekos with an iris would be the instrument of choice.
You could also add flashing PARs overhead to provide more “excitement”.

DS