My Cool Lights Experience

Tom Daigon · November 12th, 2009, 09:04 PM

Tim, I like your setup for the talking head. Could you elaborate on all of the various pieces of equipment and lights you used and what function they served? Thanks!

Tim Polster · November 12th, 2009, 09:19 PM

Hi Tom,

I had a flourescent light as the key, an LED 256 for a hair light, a reflector for opposite side fill and an LED 256 pointed at the wall for a background gradient.

I put an ND filter on in my camera and exposed the background around f2.8 for a shallow DOF then setup the lights while not changing the camera iris. Use the preview monitor as your eyes to move the lights around at that point.

Here is the view from the camera:

Tom Daigon · November 13th, 2009, 08:16 AM

Thanks. The close up really shows the details of your lighting.Nice . Which florescent light did you use at what wattage?

Tim Polster · November 13th, 2009, 08:27 AM

I used the Cool Lights 4 bank flo. I can't remember if I had two or four banks on.

Tom Daigon · November 13th, 2009, 08:32 AM

Thanks again Tim

Michael Liebergot · November 13th, 2009, 09:16 AM

Quote:

Originally Posted by Tim Polster

I used the Cool Lights 4 bank flo. I can't remember if I had two or four banks on.

Tim I light my interviews similar to you (1 large key, reflector for fill, hair light, background accent light), but I never thought about turning on the camera ND filter for added depth indoors. I'll have to give this a try for my next interview, as I normally don't have enough room to get proper separation and depth of field in the small rooms I shoot in.

Nice review again and thanks for the lighting info.

Dan Brockett · November 13th, 2009, 10:24 AM

Tim:

I love when talent shows up in a bleach white shirt, nothing better. You need to flag that guy's shirt off, it is much brighter than his face. Tough to cut with soft light too although it can be done.

For corporate interviews, I always send along a wardrobe guideline sheet (no patterns, no houndstooth, checkered, striped, no white, yellow, cream, light blue shirts, minimal or no jewelery, anti-reflective lens glasses, etc.). Nice lighting overall. I too love my Coollights 600s, they have been all I used for talking heads in 2009. Need to order the 256 too.

Dan

Tim Polster · November 13th, 2009, 04:58 PM

Hey Dan,

I am not bothered by the white shirt. In post, most of the shirt area is still showing detail, so it is white, but not blown out.

I did have the bottom barn door on the flo up a bit, but your right, the light goes everywhere.

The company had two shirts, one denim blue and the white version.

We thought it was important to have a different look on each speaker and the other guy had the demin shirt.

Thanks for your comments.

Lighting is the big area for perpetual growth.

Richard Andrewski · November 13th, 2009, 05:34 PM

One trick I've seen done before, but requires a fresnel and wouldn't work well with LEDs or flos, is to put a gel on half the light (bottom half) and aim it just so that only the shirt is covered. Use whatever color of gel you like but that should take the brilliant white out of the shirt and transform it to anything from just dimmer (ND) to another subtle color. Also, this should be a good use for a half scrim as well...

Dan Brockett · November 13th, 2009, 07:34 PM

The real challenge when using soft light and this situation is getting a good cut that significantly reduces the output, just on the shirt. Tough with softlight because you really need to position a flag or net about 3' in front of the soft source and that means placing the whole light, stands and flag/cutter far enough back to not be in picture. Which makes a a soft light weaker and harder. Which means it is really tough to do. If you cut it right at the light, there is not cut, you are just cutting down on overall output.

Easy with hard lights, not so easy with softlights unless you have a LARGE softbox and a light with enough horsepower to give you the exposure you need from a farther distance back.

White and light colored shirts are the bane of my existence in interviews, I cannot live with the shirt being the brightest thing in frame but if your client digs it, that's all that matters.

Dan

Tim Polster · November 13th, 2009, 10:30 PM

Well, personal tastes are varied.

My client does not dig it, when looking at the frame, I do not see over exposed white. There is a lot of detail in the shirt.

I tell people not to wear white, close stripes etc... as well. I just don't see the issue with this frame. My eyes are still drawn to his face. He just happens to be wearing a white shirt.

It is not like I have casper the friendly ghost here.

Tim Polster · November 13th, 2009, 10:36 PM

Quote:

Originally Posted by Michael Liebergot

Tim I light my interviews similar to you (1 large key, reflector for fill, hair light, background accent light), but I never thought about turning on the camera ND filter for added depth indoors. I'll have to give this a try for my next interview, as I normally don't have enough room to get proper separation and depth of field in the small rooms I shoot in.

Nice review again and thanks for the lighting info.

Thanks for your comments.

You might want to check your camera about the ND filter.

Before I started using HD cameras, my SD cameras' filter wheel was tied to white balance. So one could never use an ND if in a 3200k environment. Although this shoot was at 5600k.

Many newer cameras have filters independent of white balance which is a great tool.

Michael LaHatte · November 13th, 2009, 11:40 PM

I thought I would add that I just got my CoolLights LED's in today. And WOW they are nice! And bright! I ordered:

1 - LED 600 spot 5600k
2 - LED 600 flood 5600k
2 - LED 256 spot 5600k
5 - CL-LS2A stands for them all
1 - Softbox for LED 600 spot

I was worried about the "punch" these LEDs would have and I have to say, they are very powerful. Even the LED 256 will blind you even at distance. The only thing I'm worried about is how the LED 256 will work with a cookie on a wall. But, otherwise, I'm thrilled with my decision and cant wait to use them!

Richard Andrewski · November 14th, 2009, 12:03 AM

"The only thing I'm worried about is how the LED 256 will work with a cookie on a wall."

It won't work that well. A fresnel is still great for some uses. Thats why we still make them.

Santos Ramos · November 14th, 2009, 12:17 AM

I was about to buy one of the LED 256 to use with a cookie but I did not think about this.
Anyone has a pic of the LED 256 and a cookie pattern on the wall?

Thanks

Quote:

Originally Posted by Richard Andrewski

"The only thing I'm worried about is how the LED 256 will work with a cookie on a wall."

It won't work that well. A fresnel is still great for some uses. Thats why we still make them.

November 12th, 2009, 09:19 PM	#17
Tim Polster Inner Circle Join Date: Dec 2004 Location: Arlington, TX Posts: 2,231	Hi Tom, I had a flourescent light as the key, an LED 256 for a hair light, a reflector for opposite side fill and an LED 256 pointed at the wall for a background gradient. I put an ND filter on in my camera and exposed the background around f2.8 for a shallow DOF then setup the lights while not changing the camera iris. Use the preview monitor as your eyes to move the lights around at that point. Here is the view from the camera: Attached Thumbnails

November 13th, 2009, 05:34 PM	#24
Richard Andrewski Major Player Join Date: Jun 2006 Location: Shenzhen, China Posts: 781	One trick I've seen done before, but requires a fresnel and wouldn't work well with LEDs or flos, is to put a gel on half the light (bottom half) and aim it just so that only the shirt is covered. Use whatever color of gel you like but that should take the brilliant white out of the shirt and transform it to anything from just dimmer (ND) to another subtle color. Also, this should be a good use for a half scrim as well... __________________ Richard Andrewski - Cool Lights USA - RED #114 http://www.coollights.biz

November 14th, 2009, 12:03 AM	#29
Richard Andrewski Major Player Join Date: Jun 2006 Location: Shenzhen, China Posts: 781	"The only thing I'm worried about is how the LED 256 will work with a cookie on a wall." It won't work that well. A fresnel is still great for some uses. Thats why we still make them. __________________ Richard Andrewski - Cool Lights USA - RED #114 http://www.coollights.biz

November 12th, 2009, 09:04 PM	#16
Tom Daigon Regular Crew Join Date: Jun 2009 Location: Las Vegas, NV Posts: 170	Tim, I like your setup for the talking head. Could you elaborate on all of the various pieces of equipment and lights you used and what function they served? Thanks!

November 13th, 2009, 08:16 AM	#18
Tom Daigon Regular Crew Join Date: Jun 2009 Location: Las Vegas, NV Posts: 170	Thanks. The close up really shows the details of your lighting.Nice . Which florescent light did you use at what wattage?

November 13th, 2009, 08:27 AM	#19
Tim Polster Inner Circle Join Date: Dec 2004 Location: Arlington, TX Posts: 2,231	I used the Cool Lights 4 bank flo. I can't remember if I had two or four banks on.

November 13th, 2009, 08:32 AM	#20
Tom Daigon Regular Crew Join Date: Jun 2009 Location: Las Vegas, NV Posts: 170	Thanks again Tim

November 13th, 2009, 10:24 AM	#22
Dan Brockett Inner Circle Join Date: Feb 2006 Location: Los Angeles, California Posts: 2,109	Tim: I love when talent shows up in a bleach white shirt, nothing better. You need to flag that guy's shirt off, it is much brighter than his face. Tough to cut with soft light too although it can be done. For corporate interviews, I always send along a wardrobe guideline sheet (no patterns, no houndstooth, checkered, striped, no white, yellow, cream, light blue shirts, minimal or no jewelery, anti-reflective lens glasses, etc.). Nice lighting overall. I too love my Coollights 600s, they have been all I used for talking heads in 2009. Need to order the 256 too. Dan

November 13th, 2009, 04:58 PM	#23
Tim Polster Inner Circle Join Date: Dec 2004 Location: Arlington, TX Posts: 2,231	Hey Dan, I am not bothered by the white shirt. In post, most of the shirt area is still showing detail, so it is white, but not blown out. I did have the bottom barn door on the flo up a bit, but your right, the light goes everywhere. The company had two shirts, one denim blue and the white version. We thought it was important to have a different look on each speaker and the other guy had the demin shirt. Thanks for your comments. Lighting is the big area for perpetual growth.

November 13th, 2009, 07:34 PM	#25
Dan Brockett Inner Circle Join Date: Feb 2006 Location: Los Angeles, California Posts: 2,109	The real challenge when using soft light and this situation is getting a good cut that significantly reduces the output, just on the shirt. Tough with softlight because you really need to position a flag or net about 3' in front of the soft source and that means placing the whole light, stands and flag/cutter far enough back to not be in picture. Which makes a a soft light weaker and harder. Which means it is really tough to do. If you cut it right at the light, there is not cut, you are just cutting down on overall output. Easy with hard lights, not so easy with softlights unless you have a LARGE softbox and a light with enough horsepower to give you the exposure you need from a farther distance back. White and light colored shirts are the bane of my existence in interviews, I cannot live with the shirt being the brightest thing in frame but if your client digs it, that's all that matters. Dan

November 13th, 2009, 10:30 PM	#26
Tim Polster Inner Circle Join Date: Dec 2004 Location: Arlington, TX Posts: 2,231	Well, personal tastes are varied. My client does not dig it, when looking at the frame, I do not see over exposed white. There is a lot of detail in the shirt. I tell people not to wear white, close stripes etc... as well. I just don't see the issue with this frame. My eyes are still drawn to his face. He just happens to be wearing a white shirt. It is not like I have casper the friendly ghost here.

November 13th, 2009, 11:40 PM	#28
Michael LaHatte Regular Crew Join Date: Aug 2009 Location: Jackson, MS Posts: 44	I thought I would add that I just got my CoolLights LED's in today. And WOW they are nice! And bright! I ordered: 1 - LED 600 spot 5600k 2 - LED 600 flood 5600k 2 - LED 256 spot 5600k 5 - CL-LS2A stands for them all 1 - Softbox for LED 600 spot I was worried about the "punch" these LEDs would have and I have to say, they are very powerful. Even the LED 256 will blind you even at distance. The only thing I'm worried about is how the LED 256 will work with a cookie on a wall. But, otherwise, I'm thrilled with my decision and cant wait to use them!