Arthur Woo
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Posts posted by Arthur Woo
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Whoa thanks David! Those look great
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Thanks! I also got some developments from the director, some reference photos. Looks like it's just a bunch of open faces stacked a few feet apart, with a ton of haze in the background that makes them look larger
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I should clarify, I will be shooting wides and closeups. The closeups will absolutely do this effect, thanks! However, the wides would be a problem.
Your idea about silver and reflective is also what I thought of. Beauty dishes (I'm thinking of the profoto one that is heat resistant) have the circular plate which will be visible (the plate isn't removable if I remember correctly - my beauty dish is at my studio so I can't check atm).
Right now I'm leaning toward at least 1k open faces, since fresnels/lekos have lenses that will define a circular edge which is what the director doesn't want.
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Hi all,
I've been tasked to make a circular source (1k micky) behind a subject look larger than its actual size. It will be pointing directly at camera, about 15-20 feet behind talent, medium shot. What are some ways to make the source seem larger? We don't actually WANT a larger source (budget and power constraints), just making the appearance of the source larger. We're using haze which should scatter some of the light but won't make it look bigger...any thoughts?
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I did quite a bit of testing with black light recently and ended up shooting this teaser video which features some of it.
https://www.youtube.com/watch?v=I-cAibv-0Vw
1. The blacklight we used from one 4'x 2 bank kinoflo with 4' T12 bulbs. We just requested blacklight bulbs with it from the rental house (Wooden Nickel), they we're like $8 a piece in addition to the lamp price. I used another unit for rimming on the wide two shot which was 2 of those 18" fluorescent fixtures mounted in to a board; I got them from wal-mart and used them for testing before we rented anything. I can't speak for the LED units and whether they put out as much UV or more or less visible light as I never got to test them. Although I imagine they'd do the job; you can find youtube examples of some of those units. With the kinos I could roughly control output with the barn doors and by switching on/off bulbs, which was handy.
On safety: We had our actress use sunscreen which has the interesting side effect of darkening the skin under black light, which was great for the effect we were going for. I would recommend it anyway. In the video you referenced, it appears they did not use sunscreen, hence more visible skin. Also, there are clear safety glasses you can get at harbor freight or home depot that will block UV light; good for talent between takes and crew. When you can, turn lights off so people don't look at them unnecessarily as they can cause headaches (at least the Director got one...).
2. Output/exposure: I didn't measure exposure for what we did. Black Lights output UV light and some visible light, which has a deep indigo color. I imagine the only real way to measure output of the UV is by taking a spot meter reading on the material/make-up that is fluorescing. Different colors and materials will emit different amounts of visible light, so test.
For what it's worth, everything shot in the video was a canon 5DMkIII at 2000iso, mostly around an f/2. Lit with the 2 4' tubes from the kino, usually around 4 to 6 feet from the model. We had to get a lot of fluorescing to crush out sections that the visible light hit for the effect we were going for. it could probably be done with less light. But more never hurts as it gives you more options.
A parting thought: I found the most saturated color rendition in our fluorescing make-up and clothing happened at very high color temperatures, around 8000K, again option different ones and see what you like. Our "white" light for the actor was daylight gelled w/ CTB (one or two layers, I can't remember) on a 1x1 LED panel. I hope this ramble helps you out some. If I recall anything else pertinent I'll post it.
Tristan
So helpful, thanks a lot Tristan!
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Didn't see a post specifically about this. I'd like to mimic what was done in this music vid. See 0:28-0:53. There are black lights and glow and the dark paint on the dancers/background.
A couple of questions:
1. Where's the most economical places to get black lights? I see long bulbs, LED panels, etc from a Google search, but like different film light fixtures, I'd imagine they have their plusses/minuses. I'm only using these on one project which has a smallish budget, so not trying to spend a lot.
Examples:
Strips (not sure if powerful enough): http://www.blacklight.com/items/uv5050300?Open&CAWELAID=730009480000006205&CAGPSPN=pla&catargetid=730009480000009354&cadevice=c&gclid=CIf_6ve13sUCFdCPHwodL7gAIQ
Also I am a little paranoid about these outputting harmful UV - should that be a concern? It looks like the higher intensity ones need protection.
2. What's the general output like from a foot candle or f-stop perspective? Ultimately I want to know how many I need to use and i there ones of different intensity. How much do I need to make the backgrounds/talent glow?
Any other considerations? Thanks!
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Thanks for the insight David. I didn't think about a combination of a grid and large frame.
The Chimera softbox I have is relatively small, it's 2x3 ft., usually used for interviews or beauty shots so it's not really enough to cover an entire body, at least in the way that the model in the example above has her body positioned. I'll try a larger diffusion frame... bringing in some floppies if necessary. We're shooting in a relatively small space, so we might not have the room for the floppies + support.
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I also only have a Chimera medium softbox.
Larger soft source for the softer shadows, something like the below? $800 is a stretch though...
http://www.bhphotovideo.com/c/product/354760-REG/Chimera_6057_Octaplus_5_Light_Bank.html
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Hi all,
I'm shooting something similar to this, haven't been able to quite get the same light in my tests. It looks like the key light isn't too far off from the practicals so I've been trying a few different things.
Not sure how they got the key to fall off so quickly from the background and control the light so much, but still cover her entire body.
Also need advice on how to get such soft shadows. I've tried bouncing light off foamcore, a bit too much spill...regular chimera softbox with both baffles is still a little hard on the shadows. Any other suggestions? 750 open face is the biggest light I have for the project.
Making an open face look larger
in Lighting for Film & Video
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Got a reference from director. What do you guys think these are? Fresnel/Open face/something else? There is a lot of haze and water