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Christopher Santucci

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  • Occupation
    Cinematographer
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    Bentonville, Arkansas
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    Canon C300 MKIII

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    http://www.apex-visuals.net/

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  1. OK, so they're merely related.
  2. Can you place a dark board or curtain directly behind where you sit?
  3. No, I mean something you can suspend from a crane and tie off as needed, not a free standing roof. Anyway, yeah, white underside and bounce from the ground with some large fixtures on condors to add sunlight as needed. If the material were translucent white, you'd at least get some nice ambience AND avoid the potential for shadows when the sun was hard.
  4. I am shocked that anyone would build a roof over a 300' x 450' area. Aren't there going to be support columns everywhere? Why not just build a much smaller roof and move it around? What about wind? What about the sound of that thin material flapping around?
  5. The level from your side lights is too high. You're going for reflections on something that's shiny and that doesn't take much level. Think of it almost like an eye light which is just enough light to put a reflection on reflective eyeballs. And, avoid point source. If you have the same kind of hair as shown in that video, you have large reflective surfaces, so you need a large enough radiating face to reflect against those large hair surfaces.
  6. Contrast and fall off are the same thing to my mind. Key someone standing 10 feet in front of another person with a fixture that's 3 feet away. Compare that to the fixture at 20 feet away. What happens is greater fall off at 3 feet away, than 20 feet away. The unlit person further back will be darker with the fixture at 3 feet away from the subject (more contrast - more fall off), and both will be more evenly lit with the fixture 20 feet away (less contrast - less fall off). You're talking about using modifiers and different setups. I'm just talking about the nature of light on an elemental level. It's really just inverse square law at play.
  7. I'm really just talking about the nature of light under any circumstance. Bringing a fixture closer (to anything) will mean greater fall off because you're going to expose for whatever, but moving that same fixture back means all that light falling on whatever is going to be more even, hence less contrast and less fall off. It's like spraying water from a hose at a wall. If you're close, part of the wall will get wetter than another part (contrast), but if you back up, more of the wall will get evenly wet.
  8. I had to draw pictures. What I'm saying is distance creates less contrast because (as per inverse square law), all light falling on a surface from the farther light is doing so at a lower ratio difference. The two arrows depicting light emitting from the closer light have a much higher ratio than the farther light, and hence would create more contrast. This is why we bring lights far enough away from a flat copy shot, because that light is more even that way.
  9. OK, let's use the same smallish fixture and place it 1' from a face, and then back it out 10' from that same face. At 10' the fall off will be almost non-existent (ENG light, I call it) on that face, at 1' there will be significant fall off. Placing a lit 20x silk 100 yards away will throw light no unlike a single hard source with no fall off, but placing that same 20x 10' away will produce a light with more contrast, hence greater fall off.
  10. Yes, that's not the best example to make that kind of judgement with.
  11. Sorry, tldr, but "fall off" is pretty simple and can be explained with a lot less words. The closer a source is to something, the greater the contrast, and hence - a more sudden fall off. At the extreme end, the sun, which is millions of miles away and produces a completely even light with essentially no fall off.
  12. A hard light will cast shadows with hard edges (as with the sun) and will create smaller highlights.
  13. I wish I could think of examples, but using David's suggestion, check these films out: Leaving Las Vegas Permanent Midnight Requiem for a Dream Trainspotting The Panic in Needle Park The Basketball Diaries
  14. You can't menace arm a big chinaball for the non wide stuff?
  15. I wouldn't use it for everything, but I've worked in a fair amount of office settings where it works great using the existing ceiling fixtures and low bounce. It's certainly easy to set up in rooms and just bounce off a white ceiling, but it's not as cool looking as window light in my opinion. I generally will bounce off a white ceiling when I need an ambient base in a room, but I don't key that way anymore.
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