Janusz Sikora
Forum Replies Created
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In overall High Key Daylight ambiance, One small Daylight Soft Box will do it… They could at least feather off from the bottom as not to burn whites and separate the face
*It’s about Light*
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Works great. For neutral (no color shift) effect, use material with opaque black thread – no sheen – as this will disperse light over your image killing the contrast.
The idea is to soften the image without effecting inner lighting and contrast ratios.
The only Glass that approximates the effect is Tiffen Black Pro Mist Filter. Start with lower grades*It’s about Light*
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First thing first – Eyepiece Focus.
… can be a nightmare if your glasses (if you wear them) are not prescription glasses.
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First thing first – Eyepiece Focus.
can be a nightmare if your glasses (if you wear them) are not prescription glasses.
*It’s about Light*
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Putting Mole 750 Soft (1/4 Opal) on stand in back of Dolly, instead (?)
Extended eggcrate will protect the walls. Eyes will be lit.janusz
https://www.lightextreme.com*It’s quite about Light*
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One quick method would be to criss-cross from the back (as to motivate from the fireplace) and use third light as bounced Fill from cam position… this will also give an Eye Light.
janusz
https://www.lightextreme.com*It’s quite about Light*
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Andy, you are correct 🙂
Provided your Video Cam is calibrated for correct ASA equivalent (there are methods to obtain this value) – your Incident 2.8 with the cam lens at 2.8 will maintain Ira 50 at the middle of the scale.
Everything else will reproduce as what it is… Caucassian face will show at around Zone VI – 60/70 IRA (depending on the skin tone).
Yes, if you want to know the exact value, you will need to Spot read it. You can easily see how “dancing around Grey” will give you creative control over the look/mood you intend to create…
What remaims is to watch you staying within latitude of the medium (Spot Meter).janusz
https://www.lightextreme.com*It’s quite about Light*
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Andy…
You are correct ! 🙂
Provided your video camera is calibrated for correct value of the ASA/ISO equivalent (there are methods to obtain that value).
With your hypothetical example at given ASA value, Incident at 2.8 and Lens at 2.8 will/should produce Middle Grey – IRA 50. Everything else will show like what it is in terms of IRA… so the face of the subject (depending on skin tone) – you can preasume – will show at around IRA 60 (average caucassian – Zone VI/IRA 65/70). And yes… if you want to know exact value of the face, you need to Spotread it 🙂
So you can easily imagine that creative approach is about “dancing around” F.28 where you set and control values aroud it (IRA 50)to your liking, keeping in mind latitude of the medium )janusz
https://www.lightextreme.com*It’s quite about Light*
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Golden words Rick…
Its always about judgment call…
Did not mean my geeralization come across as radical 🙂
I do not think there is enough space here for relativity 🙂
janusz
https://www.lightextreme.com*It,s quite about Light*
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Hello Andy…
In reference to holding your F-stop *steady* through out the Sequence …
this is the only way not only to maintain Lighting Continuity but, most importantly – the only way to engage yourself within a real nature of creative process… Meaning – Lighting from Previsualization.
One has to light *for something”… this *something” is your predetermined F-stop (which by the way is your reference to 15% Grey Card, which is the thing *you dance around* in creative lighting)… – Last nail in the coffin – Do not change it and dance around it.Second part of your issue pertaining to Intensity of light as you move-on the subject with camera :
Amount of light on the subject does not change with you coming close or moving away… what changes (when you move in) is the apparent contrast ratio and/or lighting ratio… when you move-in – lets say – on a Dark Subject, with your own eyes … the pupil/aperture of your eye accommodates (opens up to to compensate for darkness and lets more light in (that is why – naturally when you want to see detail you move in closer).
Of course – distance and apparent “subject magnification” is one thing but, without eye accommodation that very detail would seem too contrasty.
Well, professional Motion Picture lenses are – of course – not an Autoexposure lenses that compensate. We’re talking about an as Old as Filmmaking itself – Compensation for CU (closeup)… which is about reducing contrast between Key and Fill on CU by increasing the Fill.Hope this helps 🙂
janusz
https://www.lightextreme.com