Nino Giannotti
Forum Replies Created
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Go to the MATTHEW web site and check the pattern on their cookies.
https://www.msegrip.com/mse.php?show=products&cat=55You can buy a sheet of black foamboard from Walmart and cut the shapes yourself with an Exacto knife and use it like you see on their website.
Nino
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The fabric grid is definetly easier to use, easier to store and less expensive, the honeycomp is heavier and more delicate but it will give you much better control of your light. A small Chimera will handle the weight of the honeycomb
See some comparison at https://efplighting.com/?ENG%2FEFP_Lights:Soft_Boxes
Nino
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Bob, I made many diagrams on EFPlighting.com, I also wrote this in the section of “Lighting skills equal success”
“Although you will see many lighting diagrams throughout this web site, lighting by the number is a good way to get started but relying on diagrams is not the best way to acquire lighting skills, you have to see what lighting does. Look at the light from different angles, how does it shape subjects or objects, not only artificial light but even most important the natural light. Learn how the sun behaves, the times of day when you can get the most pleasing light and how you can apply all this to your business.
Until you develop you own skills, look, learn and try to duplicate what others have done. Next time you go to a movie look at the lighting, try to guess what type of light the lighting director used, the direction of the light, the shadows created by the light. What was the director trying to tell with lights, was it a specific time of day? A dramatic effect or what else.”
Nino Giannotti
http://www.EFPlighting.com -
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Mike,
If you can get a hold of any HMI light, half of your problem will be solved. The output color of an HMI is alredy toward the blue spectrum so you don’t have to worry about filtering out reds and yellows. The camera will see the HMI as a bright blue light, add some blue gel to that and the red on the bricks should not be an issue any more. I assume that your camera will be set at 3200K tungsten light. Use it on preset or white balance it with the HMI off. You have to contain the HMI only where you need it, if the light spills into the rest of your image than you’ll have a problem with all the colors.
But wouldn’t blue bricks look kind of strange?
Nino
EFPlighting.com
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To start, what color is the background now. You must first take that into consideration. Unless it’s a neutral color, white or grey or even black you might never get a good blue out of it.
CTB is not pure blue it’s a color correction filter, this means that before it achieve a particular color, in this case blue, it must filter-out anything that is not blue.
go here:
https://www.efplighting.com/?Filters_and_gels
You can find an understandable explanation.
You should use something different instead of a color correction filter. There are color enhancement or cine-gel filters
go to:
https://rosco.com/us/filters/index.asp to see what’s available
Nino
EFPlighting.com
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Food preparation for the camera can be a tedious process. Higher budget productions for TV or photography will normally hire home economist that specializes in food preparation for photography. Just think, if Subway or Taco Bell would use the food for advertising in the same visual manner as it is delivered to customers they would not last long in business. Unfortunately most budgets cannot afford a food preparer so you’ll have to do it. Study advertising of similar businesses like Subway, Blimp, Quizno, etc. There are also books on food preparation for photography, do an Amazon search.
I do a lot of food video and still photography as part of other project, both in the high and low budgets. You can check my demo web site https://nino-g.com/demos.html under Travel & Hospitality to get an idea how we handle food shots as part of larger projects.Visually preparing the food is very critical. The chef usually prepares the dishes to be visually appealing, good chefs have an eye for details. I use one main light, usually a small or medium Chimera with fabric grid or honeycomb on top and back, just like you would use a backlight (or hair light) in an interview, this will give nice roundness. For the front I use a reflector to fill the shadow area. For highlights I use small mirrors on adjustable mount to direct the light precisely where is needed. If the light from the Chimera is not enough for the mirrors I will add a 150 Arri Fresnel pointed at the mirrors so I can project a stronger light. Use a warming card when white balancing.
Good Luck