Stephen Sanchez

Well if you want it moving in 3D space, that is different from pan/tilt from a locked position. Its the same as faking sunset by slowly dropping a flag over a light vs lowering the light behind a flag. Mirrors. If you wanted a 3D move using mirrors, I can see an array of mirrors placed at your desired height (the angles must match), then placing a light on a doorway dolly on the ground and shooting up to the mirrors. This is a great way to get lights high like the sun without cranking the light up there. You'll want to spot the beam so as much of it passes into the mirror. It will continue to spread upon exit like normal and from the set's point of view, it will appear high in the sky. This might be great because you could use several smaller HMI shoulder-to-shoulder, and clock the side lights a few degrees away from center to collectively act as a single point source. Again objectively from set, it would be as if several HMI's were spotted in from far away. I imagine that full hampshire over each board will blurr the multiple sources as a single. At this point, the break in the boards would be the only limitation. A few branchasaurus setups might be desired to hide the breaks. What about strapping the light to a golf cart? Or better yet, someone's open-back jeep. I'm sure those rollbars can be mounted to. Ora crank strapped in the back of a truck with the bed sandbagged? Your key grip is going to vomit to these ideas haha.

Actually... 4 crank stands would make sense, as that would be a lot of weight to hump up by hand.

This might sound stupid. And it sure will look silly. But what if you underslung the 4k on a dana dolly and goalpost both ends with mombo combos? Then the combos can be saftey-lined from four corners. I'd advise from a grip on this idea. Then it could be operated from below from a wooden platform, or a plank of wood spanned across two ladders. Goalpost example below:

Yes, and as you pull away from the sharp angle, the more the edges contribute to the illumination. That's my main suspicion on why falloff is so slight or plateaued up close. Up until a certain angle of view. I've related my observations to perspective. But you've put formulas and definitions to what I can only describe in concepts. I'll contact you at some point when my schedule loosens up.

I spent my twenties chasing dreams of making it big in bands. Everyone has their young adult learning years. I'm impressed with those kids who stay consistent at such a young age. It's a lifestyle, not just a job—something I wasn't good at as a band member. I knew a PA who wanted to be a director. He did minimum, didn't learn from mistakes, always got the vegan's order wrong, and complained about having to PA, saying once, "Is there anything else I can do that's not in my job description?" Not everyone is cut for the lifestyle. And I don't think it's necessarily a bad thing. Who want's to do something it turns out they dislike? As for the interacting with those kids. It sucks about how you feel, Phil. Personally, I try to never be negative, even if I really want to speak. I find that afterward, it's doesn't matter. Or someone will word it in a less negative way.

A small hot bounce card close to the face at 90° could acheive that kind of kiss on the left cheek. But I think it is a soft silver reflector further away, by the kick on the cheekbone and glint in the eye.

I think it's really nice. The cigarette match and candle exposure is impressive. And doesn't feel digital. The fire effect felt artificial. It was too slow and the shadows didn't flicker. That was the only thing that didn't sell me. Given the amount of time on screen, I would have tried for real fire via propane tubes. Or a combination of fire and LEG gag.

Wow. What a response! This is great! It's a little over my head, though. It seems to refer to lensing, which is not my focus. I'll have to study it more. As I understand it, a Lambertian reflection is kin to a matte surface bounce? I understood half the math you supplied. I have to correctly identify and understand some of those terms. Visually, is your description similar to the drawing below? Once I am educated on some of these concepts, do you mind chatting sometime, Michael?

Please PM me. Or drop a contact you know that fits the bill. I'm looking to book a grip with a 1-ton truck/van. 5600k or bi-color lights are a plus. It's for a teleprompted setup at a big house in the hills. Easy day. One setup, maybe a second for b-roll. Sooner replies, the better. Thanks folks! Shooting in Studio City Nov. 11.

That is interesting. I figured silver-taping a dish like that would cause wrinkles and breaks in the reflection. Its so huge! The only things I'm aware of are the Dedolight 1200w PB70 (renamed CRLS 70). Dedolight 1.2kw PB70. https://www.dedolightcalifornia.com/collections/pb70-parallel-beam-light Softsun 3.5kw Parabolic. http://www.attitudelighting.com/equipment/softsun-3-5k-parabolic/#:~:text=The SoftSun 3.5K Parabolic,smooths out those unwanted wrinkles.

No two rays are perfectly parallel. So all light follows the inverse square, even lasers. The rate of fall is just scaled. Soft sources exhibit compounded math that describes the readings we get. I'm really looking for any available studies on the subject.

I imagine it's comparable to a vanity mirror but with more throw due to the integrated reflector.

Does anyone know of any studies done on soft light's relation to the inverse square law? Books, websites, forum members? I'm very curious to know how deep people have gotten into the subject. My web searches get littered with basic lighting tutorials and the like.

I wonder what he mean't by "that's the heat haze from the light bulb," when referencing the diffusion-esque quality of that light setup.

I've not worked with it. The differences are in the reflectors and the glass. So the intensities and texture of the light will be different, but not necessarily drastic. 800w is still 800w.