Tagged with lighting - Personal View Talks

FIPEL lighting bulb

Vitaliy_Kiselev — Tue, 04 Dec 2012 13:57:04 +0000

Philips L Prize LED bulbs, High CRI

Vitaliy_Kiselev — Tue, 04 Dec 2012 14:22:36 +0000

Info - http://www.usa.lighting.philips.com/lightcommunity/trends/l-prize/home.wpd

Not a cheap thing - http://www.amazon.com/Philips-423244-10-Watt-60-Watt-L-Prize/dp/B007RKVT4C

Gels topic

kronstadt — Wed, 20 Jun 2012 09:34:18 +0000

Hi, As I keep building up my micro-budget movie kit, now the question of gels comes up.

Which gel set would you recommend? Preferably, cheap and relatively good quality. I need them to work with LED lights, Redhead 800W halogen and "As ARRI" 650W tungsten fresnel lights. eBay links would be appreciated.

Best Softbox Lighting Solution?

civopo — Mon, 21 May 2012 09:08:52 +0000

Hi,

I am currently searching for an affordable lighting set-up as I'm going to do more interview stuff etc. in future.

The only thing I am sure about is that i want softboxes as light-modifiers, but what kind of light sources should I use? There are so much options. Halogen - Fluorescent - HMI - LED... As far as I am concerned, LED is the new trend in terms of lighting, but whats the reason for? Low energy, portable? Do I need a softbox in use with a LED for example?

I have a budget of approximately 100-350USD.

As a hair light, i'm going to use a 150w or 300w PRO As ARRI Fresnel. (http://www.ebay.de/itm/As-ARRI-Economical-300W-studio-lighting-Fresnel-Tungsten-Light-300-watts-bulb-/221022906307?pt=LH_DefaultDomain_0&hash=item3375fde7c3#ht_3350wt_1398)

Thanks a lot!

Zylight LED fresnel light

airboxlights — Sun, 29 Apr 2012 16:48:58 +0000

Interview with charlie Collias of Zylight about their new LED fresnel. I think what's really noteworthy about this new unit is that it really seems to be an effective workhorse fresnel, but it's not a big bulky housing- it accordions down to a pretty low profile in full flood for packing and moving. The accordion design struck me as both innovative and intelligent. This unit also has a nice hard-edged shadow on the beam; it gets away from the mushy multi-shadow thing that is such a hallmark of LEDs. Remote controllable, daylight balanced, battery-powerable, this light looks like it may rise above the new pack of LED fresnels. An associate of mine at B&H was predicting this one to be a big seller once it's in wide release. Downsides? Regular tungsten fresnels are still pretty cheap to buy and rent. Until Electricity and replacement bulb prices rise up a whole lot more, I don't think there will be a wholesale adoption of this unit by the general rental house market. It's a little pricey still compared to tungsten, about 2400$ for a unit that compares outputwise to a 650w fresnel. Being daylight balanced, though, it compares favorably to the small HMIs on the market, especially when you take the replacement bulb costs into account. Overall, I think this light will be a winner for smaller productions where the production company or DP owns a lot of the gear themself. It's portability and versatility appealed to me for that market.

Tom Guiney

Reverse engineering lighting

Vitaliy_Kiselev — Mon, 20 Jun 2011 19:55:46 +0000

If you always wanted to know how they made lighting in specific scene, it is proper topic.

First, look at this resource - http://thetwopointeight.tumblr.com/
It is blog describing lighting (mostly portraits like).

Second. You can search Amazon for lighting books. I need some time to find, but I am sure that I read some books describing lighting of famous film scenes .

W96 LED Light

Vitaliy_Kiselev — Tue, 19 Jul 2011 20:10:08 +0000

Main difference if you compare with Z96 is remaining charge indicator, and lower price :-)

Price: $55.50 with shipping

http://cgi.ebay.com/Z96-upgrade-96led-Light-CANON-NIKON-SONY-Camcorder-/320726656352

4PC pack

Price: $250 with shipping

http://cgi.ebay.com/4PCS-Z96-upgrade-96LED-Light-SONY-JVC-NIKON-CANON-/320726758758

Flags (for lighting)

qwerty123 — Wed, 30 Nov 2011 10:33:28 +0000

I don't think we have a topic on flags. So I thought I'd start it up. Anyone have recommendations for a nice quality, inexpensive flags for lighting? What is your preferred flag setup, etc.

Thoughts on the ePhoto LED's?

JonF — Mon, 24 Oct 2011 17:50:58 +0000

What does anyone think of the ePhoto LED's? I've been looking at the 600 and the 900's.

There's a really cool review of them here:

Cinematography Style Documentary

Aksel — Wed, 28 Sep 2011 22:28:09 +0000

Fill light

Vitaliy_Kiselev — Wed, 28 Sep 2011 21:47:46 +0000

In film school we were taught that the fill light determines the density of the shadows. What we weren’t taught was how important shadows are, and that while the “key” light certainly has directionality, the fill light can as well. Where shadows fall is just as important as how bright they are, which means that we need to look at not just intensity (which I’m not really going to cover here; that’s determined by your own taste) but at placement as well.

Here’s a typical three-point lighting setup. This is both a great learning tool and an awful formula to follow, because while most lighting breaks down into this in one way or another it is severely limiting if this is all you know how to do. Still, it’s a good starting point.

The reason the fill light is at the same height as the key probably stems from early studio cinematography when much of the lighting was placed high in a grid. Beauty lighting was often done from the floor (more on that later) but live television and grand feature film sets were almost always lit from the air.

In this scenario the key light is placed so that the nose shadow falls along the “smile line,” the line between the corner of the base of the nose and the edge of the mouth. The position of that light can make the nose shadow long (connecting to the cheek shadow for classical Rembrandt lighting) for “masculine” lighting or short when lighting for glamor. The fill light was set up opposite the key simply to fill in the shadows left by the key.

In the diagram above, where the key and fill light are the same size but differing intensities, the fill light will cast just as hard a shadow as the key light. The fill light’s shadow will be less obvious because it is less bright but it will still be present. There may be a dark area under the chin where neither light reaches but that can occasionally be helpful in hiding what a friend of mine calls “the gobbler,” pertaining to loose skin that collects under the chins of mature leading ladies.

Read the rest at: http://provideocoalition.com/index.php/aadams/story/fill_light_the_underdog_of_lighting/P0/

Cinematorgaphy tutorial: Lighting From Upstage

Vitaliy_Kiselev — Sat, 27 Aug 2011 06:50:05 +0000

As filmmakers you’ll often be looking for ways to add depth and dimension to your images. One way to do this is to “light on the upstage side of the camera” – meaning the side away from the camera. This will mean that your shadows will fall towards the camera rather than away from the camera.

Via: http://www.lightsfilmschool.com/blog/filmmaking-tutorial-lighting-from-upstage/1687/

Interview - Frieder Hochheim of Kino Flo

andres — Sat, 16 Jul 2011 12:08:05 +0000

Source:
This is from the Shane Hurlbut blog.
http://www.hurlbutvisuals.com/blog/

How-to: Lighting

Vitaliy_Kiselev — Fri, 24 Jun 2011 16:09:18 +0000

Here I'll collect links to publications about interesting lighting techniques for specific situations.

Small spaces, elevator

Anatomy of a Spot: T-Mobile, http://provideocoalition.com/index.php/aadams/story/anatomy_of_a_spot_t-mobile/