Various lighting questions & answers from 2004
 

I have seen the tv commercials and looked up GE `s web site for their new "Reveal " series light bulbs.......they sound great for video work...any one tried them yet? They are low cost and not too hot, so that they could be placed in regular lamp fittings, say in a home shot, without the need for expensive light set ups...their web site is www. gereveal.com

Hard to tell...
 

I can't say much about the bulbs you mention. It looks however that these will alter the light color. I don't think they will be particularly useful.

I do recommend that you use the big cheap light in the sky as best you can.

Here are some tips for shooting in daylight...even indoors.

First off, use mirrors! You can easily get sunlight into interiors this way. Once inside the all too common white walls are often all the bounce you need.

Align your set/camera north-south. If you do this you have a reasonably long shooting day, and you have to worry less about matching shadow positions.

Finally, don't be afraid to shape your light using anything at hand as a flag, reflector or scrim.

Following these tips can be the cheapest way to improve any production...and it doesn't use electricity which can be expensive to bring on location.

Good all purpose light kit
 

to all,

I'm looking for a solid, durable light kit that I can use in shooting shorts. I've been looking at a couple kits from lowel that seem to provide a good variety of equipment, but since this not at all my area of expertise I thought I would pose the question out to any experts in the crowd. Below is what I've looked at, interested to know if I'm on the right path, if Lowel is a good company, etc.

Lowel Solo Kit:
http://www04.bhphotovideo.com/default.sph/FrameWork.class?FNC=ProductActivator__Aproductlist_html___32273___LOTO96___REG___CatID=2247___SID=EB 49A529AF0

or Lowel VIP Sophisti-Kit:
http://www04.bhphotovideo.com/default.sph/FrameWork.class?FNC=ProductActivator__Aproductlist_html___185195___LOVP96U___REG___CatID=2247___SID= EB49A529AF0

and a Rifa 66:
http://www04.bhphotovideo.com/default.sph/FrameWork.class?FNC=ProductActivator__Aproductlist_html___132651___LORL750K___REG___CatID=2247___SID =EB49A529AF0

Any help/guidance would be much appreciated,
Thanks and Happy New Year!
ImagineThat

I generally use 2 Lowel packages. I recently began using a Caselight 4 portable flourescent as a key light. It's very cool running, has built-in barndoors, brightness controlled by switching on 1 to 4 of the lamps, and packs down to a case just slightly larger than a briefcase (inclusing stand!).

I also use a kit with 2 Lowel Omni's and 1 Tota lamp (I think it's called one of their "Go" kits.). That kit packs into a slightly larger and heavier case. Honestly, though, you could probably skip the Tota for many shoots. I've considered getting a Caselight 2 to use instead of the hot Omni's and Tota but...

BTW, I bought both from B&H.

3 Point Lighting Theory
 

Can somebody tell me what the 3 Point Lighting Theory is?

The short short version:

You have #1 light that is called the key light, it is the main source of light for the scene.

You have #2 light that is called the fill light, it fills in the shadows.

You have #3 light that is called the back light, it helps seperate the subject from the background.

For more details:
http://www.3drender.com/light/3point.html

Anyone know Multiblitz lighting equipment
 

Hey there...

I've had contact with a local store here that sells video
and photo equipment to ask about lighting equipment
for my XL1s (stuff like this is hard to find here). They only
sell Multiblitz ( http://www.multiblitz.de/en/index.html )
lighting gear. This gear seems to be meant for photo
shoots instead of video shoots. Can I use this stuff
with my XL1s or would this be a bad idea? Anyone
actually know this brand?

Thanks for any help or tips.

Hi,

Your right, Multiblitz has been around for a number of years in the still photography market. Bogen (Manfrotto) doesn't import it in the US. I haven't seen it in the states in a few years. They used to make very hi quality flashes. But I'm not familiar with their hot lights. If they look well made and sturdy ask the shop if they can put you in touch with any photographers that are using them. From the photo they look bigger than Lowel lights, so they may be a little bulkier to transport.

Jeff

Cool Lux SL 3000/U-3
 

I am looking for an on-camera light. As I own one of the Cool Lux 2000 kits, I am rather pleased with their performance, over all, when placed on stands.

Has any one out in the crowd used the Cool Lux SL3000, or, the U-3, camera mounted? And, if so, what would you say to there good/bad Points?

I liked the SL3000. It puts out a nice soft light with the hood on and if you remove the hood and turn the light forward it has a fairly wide throw. I think the only thing I didn't like about it was the battery belt. The charge specifications are really unuseful. It takes like 10 hours to charge, you can't let it over charge, you can't undercharge it or it will develop a memory and it only lasts for a few hours when fully charged. For my purpose it just wasn't very flexible, I would need it at the last minute and have to wait 10 hours to charge first or just use what was left.
With todays battery technology there has to be something better to use instead, so other than the battery I really like the light. I have used it mounted on a PD-150's shoe and on a light stand without problems. It is very rugged aluminum and pretty easy to assemble from it's own little shoulder storage package.

Shooting in the woods
 

Just thought I would ask if anyone here has had practical experience shooting in the woods in the middle of the night.

How to light a large area without it looking like it is being lit?

I have a couple of different ideas, but thought perhaps some of you out there might of actually succeeded in this.

Thanks- Nori

Nori, this article might be of some value to you. It's from DV magazine and cinematographer John Jackman:

http://www.dv.com/features/features_...02/jackman1002

Hope it helps.

Software based Waveform & Vectorscope Monitors
 

Does anyone know of a way to use a software-based waveform and/or vectorscope monitor on set in real time to set up a shot? Maybe by somehow hooking a laptop through the 1394 on the camera? Any ideas at all would be great. Thanks.

-Shawn

That is exactly what is possible. If you have an NLE or other piece
of equipment that features a vectorscope etc. it should be able
to realtime watch the firewire port. Just hook up your camera
and drag the laptop with you on set. I'm thinking myself on
using this together with recording directly on my laptop instead
of tape....

Mirror Shots
 

Hi All,

I just wanted to share something I learned a week ago and saw tonight on the rushes for a short movie I shot, a shot I did into a mirror of a girl...the mirror was an old, faded mirror (like they get when they deterioriate) and I shot her image in the mirror, focusing on her, not the mirror. She was about two feet from the mirror looking into it (supposedly, but she was looking at a spot of tape out of view on the left side) and the shot had a very nice, soft focus and filmy look...try this out next time you see an old discarded mirror laying around on the sidewalk somewhere!

Its a nice look...

I used it in my short also...

Cheers!

VL-10li vs Mite Lite
 

Does anyone prefer the mite lite by NRG over the Canon vl-10li? I have the vl-10li and it works alright. I would like to diffuse the light a little more though. And it seems like the center of the light is too high in the shot.

Anyway, I need to get one more light and I was wondering what people though. And if there were any suggestions for diffusing the vl-10li. I have some diffusion gel and I'm taping it on to the light, but there has to be a better alternative.

I use the lights for wedding videography if it matters.

Thanks in advance,

Annie C

Hello Annie

You might like to try a prismatic diffuser (or pyramid diffuser) for the top light - its used in suspended ceiling lighting in 12 x 12 inch squares which you can get cut to size from a DIY store

it will spread the beam to a wide angle setting and kill the hotspot

Camera light recommendations
 

I'm shopping for a camera mounted light for an XL1s. Any pros or cons for the various manufacturers would be great. I'm partial to Lowel but am by no means religous about it. Any recommendations out there?

I have a Frezzi dimmer mini-fill and a Chimera softbox and I just love it. Really solid, well-made gear. With this setup you can dial in just enough light so that you can brighten things up a bit and still keep the scene very natural looking. The Chimera diffuses the light and throws it a lot wider. Too much light will make people's faces look very flat, so you should try and get something with a dimmer. If you have the money you might want to look at Frezzi's HMIs, which use a lot less juice, which is very important. A tungsten bulb will drain a battery really quickly. I'm planning to buy their 10-watt micro-sungun (equivalent to about 50 watts tungsten) for all purpose shooting and documentary work. Their HMIs aren't dimmable, but you can use the softbox to effectively control intensity by pointing the light down to reflect off of the inside of the softbox.

Diffusion material
 

Hi,

I'm using eight 2' x 4' banks of flourescent lights, each with four with 3400K bulbs, to light a 15' x 20' are for martial arts sparring footage. The light is quite directional, and I'd like to diffuse it.
The banks came with a clear plastic covering with thousands of tiny pyramids (prismatic diffusors?). I find that these coverings diffuse the light somewhat,
but I have enough light to afford better diffusion. I
put a sheet of photography diffusion paper (some sort
of opal) on one of the banks, but it doesn't do much
in the way of making the four bulbs look like one, wider
light source. I notice that other flourescent lights come with
a textured white plastic diffusor that blends the bulbs into
one light source. It looks like I'll need quite a few
sheets of the diffusion paper to match the plastic.

Is there some special value in using the paper other than
portability and control over the diffusion amount?
Should I look for plastic with particular diffusive properties?

What you described sounds like drop-ceiling fluorescent lighting. With 8 banks you'd have plenty of light for a diffuse, immersive field with almost no extra diffusion... UNLESS you meant to say that they are in the ceiling. In that case you are going to have a hard time getting direct, overhead light to "wrap around" your subjects as a Kino or some other stand-mounted fluorescent would.

About the only thing I can think of if the ceiling scenario is the case is to suggest getting higher output / higher quality bulbs. The reason the tubes aren't visually "combining" into one is due to reduced output or typical distance between tubes in a commercial fixture. The other thing to note about commercial fluorescents is the bulbs aren't usually color balanced and the ballasts aren't high output.

If that's the case I'd suggest augmenting the existing light with a couple fluorescents on the floor off cam.

Of course I could be rambling on too far about this because maybe you've been referring to Kino's or something else... in that case I appologize.

Anyone used the PAGLight?
 

It's a 2 in 1 Halogen or Arc camera light I just saw at DVExpo East & it caught my eye. Just wondering if anyone had any experience with them?
Thanks

I have used it a bit. It's a clever, flexible design. It has been made to deliver a broad, even beam rather than a hot, spotty one like many small onboard lights which makes it more useful in my opinion. Easy switch from HMI to incandescent. Nice piece of gear.

What would be a good replacement for the Lowel Pro lights in the DV creator kit?
 

Hi guys. I've been toying with the idea of getting me some lights and was thinking about the Lowel DV Creator 1 kit. Now all the stuff is good but the NZ Lowel dealers told me today that the Pro light in that kit wont work here in New Zealand with our 230 volt system. The others Tota and Omni are fine, just not the pro light.

Anyway, I was wondering what would be a good replacement light around the same cost that would work over here on our system?

Cheers
Aaron

220V lights for you..
 

I would look at the Pepper 100 or the Arri 150. Mole makes a similar light but their names give me a head ache. Get the 220 bulb and enjoy. The prolight is good but these lights are better.
You might want to look at an Arri kit or A Chimera softbox kit and a focusing light.
Just an idea.
Strength and honor
r

220V bulbs for JTL Everlight kit ?
 

The JTL Everlight looks like a pretty good deal for an entry level lighting kit.

I live in the US for the moment but may come back to Europe later so I was wondering if it's possible to find the 500W bulbs for the Everlight kit with a 220V voltage.

Thank you
Dany

I got a response from JTL and they do carry 240V bulbs. They can be ordered directly from them... Cool !!

Low cost lighting solution
 

I have been recommending the JTL Everlight Kit as a good low-cost lighting solution for beginners. The kit consists of three softboxes, 500 watt bulbs, stands and a nylon carrying case. While not as ruggedly made as some of the name brands, the $500.00 price tag will allow you to get a lot of light kit for a reasonable cost, and with care, should serve you well. Add a small fresnel, like a LTM Pepper in the 350 watt range, with a stand, and you will have a good set up for a variety of purposes, from interviews, to "small film" settings, and you are still under $1K.

I have included some frame grabs from a little project I did with the Everlight Kit that can be found at http://www.digitalprods.com/LSmontage to give an indication of the results you can obtain with the kit.
http://www.jtlcorp.com/kits/10.html
http://www.ltmlighting.com/merchant.ihtml?id=40&step=2

Thanks Wayne! I keep reading posts about someone wanting to know about a cheap lighting solution. Now here it is. :)

Steve Kaeser Backgrounds & Accessories?
 

Anybody have any experience with one of these light kits? Seems like a pretty good deal for all that it comes with.

http://cgi.ebay.com/ws/eBayISAPI.dll...tem=2950111400

JUST BE CAREFUL..
 

THAT LOOKS LIKE A JTL KIT OR SOMETHING LIKE IT.
I AM SURE THAT IT IS OK BUT I WOULD LOOK AROUND.

MAYBE CONSIDER A FEW TOTA LIGHTS, 3 STANDS AND 3 UMBRELLAS OR A SOFT BOX KIT AND A HAIRLIGHT. THERE ARE LOTS OF OPTIONS.
SEE THREAD ABOUT A GOOD BASIC LIGHTING KIT.

LIGHTING IS ALL ABOUT ACCESORIES AND YOU WANT TO MAKE SURE YOU CAN DRESS YOUR LIGHTS.
HAVE A GOOD NIGHT. IF I CAN HELP JUST ASK

Brands.
 

I'm soon to buy some good video/film lights. I want compatibility within my light system. So I'm going by brand. What brand would you guys suggest in a system that need to be expanded with time and still need to be compatible?

I'm looking at Manfrotto or Ianiro because they are easiest to find near me. Leaning towards Ianiro.

I'm a sucker for quality. I hate bying cheap stuff with no quality. (but cheap stuff with quality are ok:)

What brand would you point me to or suggest me to buy?

Types
 

I would consider selecting your lights by type.
What kind of lights to you have now?
What do you shoot?
You can get nice soft lights or focusing lights.
Arri makes some great kits
Tack
Richard

lumiquest soft box
 

http://www.lumiquest.com/lq925.htm

is used in flash photography

anyone tried it with a low power 20watt top light, such as Sony HVL-20DW2?

You could be the first.. a pioneer of sorts..
 

My guess it will not burn up right away unless you use if for a really long time.

Keep us posted..

New Lighting Kit
 

Can anybody suggest a good starter lighting kit for all around use. I'm on a tight budget, the more I can save the better. I know there are a lot of variables involved, but give it your best shot. Thanks.

Lee
Very carefully browse all of the back posts here and at the dv.com lighting forum. A few people, me included have spent a great deal of time composing very detailed posts answering your question. The many posts have included links to manufacturers , suppliers, pricing and interesting reading.

Read all of the posts as the opinions and rationale vary. In the end it will make some sense. remember yo only get what you pay for. We're all cheap bast**ds, so there has to be a reason for us to spend out hard earned dough.

outdoor lighting
 

hi -
i have a gl-2 and i have a question. strangely enough, ive been filming for several years and dont know some of this basic stuff. i've never actually had to film outdoors, on a camera with manual settings, when its extremely bright out. (i live right on the coast of california.) and, well, i went out by the beach to test out a shot and it was unusually bright outside. i had the ND filter on and needed an ND8 attached as well because i didnt want to sacrifice depth of field... but i notice that faces, people, and well my subject in general, looks terribly dark because of the brightness outside. ive used reflectors, doesnt seem to help a lot... even when the sun is directly in the persons face, it still looks too... well, mostly dark, but sometimes its indescribable... anyway, what must i do to achieve realistic, decent-looking images without destroying the backgrounds? sun diffuser? but i would need a massive one for these shots... ah please help! thanks in advance

- daniel

Hello Daniel,
The fundamental bugaboo you describe is one that most of us face from time to time: contrast management. Expose for the brighter background and you crush the darker subject. Expose for the subject and you blow-out the background.

Basically, the best approach in such outdoor scenes (and really in nearly all settings) is to practice working with your situation rather than against it. This means repositioning the subject to use the available light better. This will make your job much easier.

If that's not possible, reflectors are your next best tool. Yes, I know that you reported bad results but this, too, takes practice and an attentive assistant.

Trying to light a backlit subject against a bright background for video can be a very equipment-intensive effort. It takes some very powerful and expensive lighting to compete with bright sun. HMI's powered from a generator come to mind...an expensive solution.

Failing all of that: shoot earlier or later in the day when the sun is lower in the sky.