I hate these lights

[Nigel Barker]

Disco lighting cycling through red blue green yellow etc isn't really a problem. It's the 'mood' lighting used by venues that renders everybody & everything a vivid magenta that is the real headache. The cameras react differently to the human eye & what looks like a pleasant rose glow gets recorded as a really deep pink cast on everything.

[Steven Davis]

Here's my last point and then I'll shut up.

I had a really nice reception, great demo material because everyone was having a good time. I showed it to two prospective clients, both picked up on the blue/lower light issue. One person understood when I mentioned it was the DJ's 'wall blue lights' that were messing with the camera lenses, I booked that wedding. The other prospect didn't buy it and I didn't book that one. So yes, it does matter, not only to that client, but to our work product. And no, I don't bring floor lights, but I'm considering it since a lot of DJ's seem to be addicted to these types of lights. The best, and I mean the best DJ lighting setup I've ever seen was done with lasers, racks of non-led lights and mist. That dude rocked and you could tell he put money into his stuff.

[Robert Benda]

The issue there is that many places won't let us use mist/fog because of the particle sensor fire alarms in the rooms. Without it, lasers and most lighting effects are worthless. That's how the wall lighting (usually called 'up lighting') came about.

I had thought you were referring to the dance floor lighting, and realize now you meant his kind of room lighting. Get used to it. Hotels and halls are starting to supply it, too. Someone who has done it well can control the color from across the room (ahem, like me) and have the color suit the moment.

Usually, though, the bride has it matched to her wedding color.

From now on I'll be switching it to whites during special moments.

[Darren Levine]

This is what i would call the biggest clusterf**k of lighting that i've ever shot, but for the type of video i was making it worked brilliantly. I know the client paid a ton for the lighting company, and look at all the variation and detail that went into it. the robot was the biggest love/hate which you can spot with the flicker lines. No shutter speed could fix it and there's some shots i got which were like venitian blinds. his leds were changing speed, color, and frequency, making it impossible to get a consistent picture out of him, if i were supposed to be filming his activity long form, those scan lines would be a huuuuge issue and likely have the client say WTF. But in this case they loved the end product, and this is one of those videos that i shared with the lighting company.

2012 Refi Rock spring fling central park on Vimeo

[Steven Davis]

Originally Posted by Darren Levine

This is what i would call the biggest clusterf**k of lighting that i've ever shot, but for the type of video i was making it worked brilliantly. I know the client paid a ton for the lighting company, and look at all the variation and detail that went into it. the robot was the biggest love/hate which you can spot with the flicker lines. No shutter speed could fix it and there's some shots i got which were like venitian blinds. his leds were changing speed, color, and frequency, making it impossible to get a consistent picture out of him, if i were supposed to be filming his activity long form, those scan lines would be a huuuuge issue and likely have the client say WTF. But in this case they loved the end product, and this is one of those videos that i shared with the lighting company.

2012 Refi Rock spring fling central park on Vimeo

Hey Darren, what cam did you use? Just curious, I'm going to need to replace a cam or two in the future, I thought yours did a great job in the low light color etc.

[Darren Levine]

5D2. all the night stuff is either 28 1.8, or 50 1.8, ISO up to 3200. that flying overhead stuff is gopro 2

i'm eagerly awaiting the next type of event like this, since i know my C100 can laugh at anything but pitch darkness.

[Steven Davis]

Originally Posted by Darren Levine

5D2. all the night stuff is either 28 1.8, or 50 1.8, ISO up to 3200. that flying overhead stuff is gopro 2

i'm eagerly awaiting the next type of event like this, since i know my C100 can laugh at anything but pitch darkness.

C100, wow, nice. Nice video btw. I bought a pair of Nikon D800s last year, and I've been moving them into the rotation of various projects.

[Darren Levine]

you might have misread that, that video is all 5d mark 2, i now have a c100, but have yet to use it on an event like that

[Steven Davis]

Originally Posted by Darren Levine

you might have misread that, that video is all 5d mark 2, i now have a c100, but have yet to use it on an event like that

Yeah, that C100 looks nice, too bad Nikon doesn't have an equivalent. I have a lot of Nikon glass. Although aren't there rumors that Nikon is going to move to video? Maybe that's just a pipe dream of mine.

[Nigel Barker]

I spotted the overhead stuff. It looks good for a GoPro but the light level is adequate. Is it just stuck on the end of a boom?