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Found 3 results

  1. Hey everyone. The other day I was testing out different bulbs in my 1K fresnel to see how wattage correlates to output (switching from 750 to 1K only resulted in 1/3 stop difference, which I found really surprising). I did something stupid though: since I only had my light on for a few seconds to take a quick light meter reading, I thought that the lamp probably wasn't that hot, and waited far less time than I normally would for it to cool down. Basically, I touched the bulb with the gloves I happened to be wearing at the time (which aren't real proper leather electrician gloves but r
  2. Hello, Would any of you be able to suggest how to get some soft, flattering light on the face of the talent in an establishing shot of a room at night while avoiding spill. The lighting is motivated lamps but most areas will be allowed to fall away to near darkness. I've attached a low-resolution image of how I would like the room to look. Also when it comes to the close-up would any of you advise using a small booklight? Many thanks in advance for any responses. Best regards, Haydn
  3. I've notice that in most movies the set designer and DOP seem to choose white shades for practical lamps - presumably to increase exposure and not mess with white balance. So for example, all white lamp shades and then dim down the practical lamp bulbs to create a nice warm tone. Is there any advantage to using a white shade with dimmed bulb to get an orange effect, as opposed to keeping the bulb at full power and using an orange shade (which I guess will give more a colour contrast between diffussed and direct light)? Both would presumably give a warm effect. What about coloured bulbs/glo
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