Ron Fya

You can "dim" an HMI (or any light) with a grid. If you can manage to place a grid on a frame in front of the HMI, you just make the grid rotate around its stand and it cuts/dims the light off. If you use diffusion, the grid has to be between the diffusion frame and the HMI to accomplish this. Not in front of the diffusion frame as when using the grid in a normal way. It's actually what Michael suggested with the DMX shutters, but if you haven't access to those, you can Mac Gyver it a bit like this.

At first I thought "alright, jokes are already coming". Then I thought "actually those answers may be extreme but could be real" In the end I am not sure because it's very late here and I can barely line up those last few characters before going to bed. So save the jokes for tomorrow guys :D

Hey guys, I plan to shoot a music video where we want to have tubes rigged in some kind of a sculpted shape (see example pics). What is the most efficient way to do it from a wiring point of view? And from a cost efficiency point of view ? Any good DIY? Please also take into account that we will need to shoot slow motion at around 150 fps (any issues with flicker?) and that I am in Belgium (if you link to some shop). Thank you so much for your help guys. R.

That said, I have another question. Let's say you need to need to recreate a daylight high key look in a room that has quite some depth with windows away from the end of that room. In that case what is your favorite way of bringing up the level of the far backend of the room? What kind of fill light would you use for this ? Just as previously, sometimes I feel that bouncing off the ceiling feels too artificial. Especially if the ceiling is in the frame. Cheers

So this specifies the David Mullen'post: daylight is properly recreated by combining a harder light (like the sun) and a softer light (like the sky). Moreover I like also your tip about using a bounce board as a blown out window lookalike in the inside. Thanks !

@Bruce No I cannot place anything behind the windows, they're too high. That's a shame because I like lighting outside-in through windows taped with diffusion like you said. @aapo Nice trick faking the window with a bunch of LED panels behind a curtain ! Will remember that one. @David You may have unveiled one big piece of the puzzle here! I will for sure try adding a slash of hard light next time. I only ever tried just hard or just soft in those cases. Maybe mixing hard & soft is the way to go for added realism. Thank you so much for your insights guys !

Hey guys, I was wondering if you can share your best techniques to recreate a bright day look indoor during nighttime ... when you cannot setup hmis lighting up through windows and only need to work with max 1k/2k lights inside the room. Sometimes I feel that bouncing from the ceiling doesn't cut it .... and if bouncing from walls is not an option, (like when they are colored or blocked with furniture), what is left ? Book light? Other tips ? Cheers

Thank you very much for your insights Satsuki ! Very appreciated! A question them arise in my mind. When lighting the master shot, if we still want this color separation, how can one achieve that efficiently in small spaces where actors are lit with soft light and are closer to the backgrounds? I would imagine lighting the space first with say "plus green" gels. And then for the key light use a big light source with 1/2 CTO for the soft look with careful flag placement (if possible in the master) to prevent spilling. And maybe an additional fresnel to bring up the key level if needed.

Here are the pics of Amélie Poulain

Hi there, I was wondering what is the best way to light a scene towards a final look like those pictures in the nightclub from the TV series Lucifer (very nice new show by the way !). What I like is the greenish background while still keeping the skin "somewhat" natural. Of course there is also heavy grading at play here and would appreciate input on this too. Moreover, is this the same technique for Amélie Poulain hereunder? Thank you very much ! Ron.