Shaan Aslam Posted December 31, 2012 Share Posted December 31, 2012 This may have been asked before, and I know that it depends on the scene/situation/budget, but: What do you find to be your favorite or even ideal close up light? What do you find yourself gravitating towards the most and why? Personally, if at all possible, I like to shoot two tweenies through a 6x6 of silk and then place a 4x4 of 216 right off camera, or as close as I can to the actress/actor. If I can't manage that setup, for obvious whatever reason, I go with a fat boy kino through a 4x4 of 216. I'm a student and have no idea what others do. Save for what I read in American Cinematographer, which is usually something rambunctious, ( 2x18K's through a 20x20. WUT) 1 Link to comment Share on other sites More sharing options...
Ari Davidson Posted December 31, 2012 Share Posted December 31, 2012 Budget permitting: 5k + Large Chimera w/full white Typically: Fat Man through tough spun. 1 Link to comment Share on other sites More sharing options...
Premium Member Phil Rhodes Posted December 31, 2012 Premium Member Share Posted December 31, 2012 Fat Man May I be the first to say "huh"? 1 Link to comment Share on other sites More sharing options...
Shaan Aslam Posted December 31, 2012 Author Share Posted December 31, 2012 A "fat man" is a 4foot by 4tube Kino Flo. I don't know how local this term is, as I've ran into some people in LA who aren't familiar with it. Link to comment Share on other sites More sharing options...
Zachary J Esters Posted January 10, 2013 Share Posted January 10, 2013 Hi Shaan! My favorite close-up shot I've done was one in which the key light was a China Ball on a dimmer, which I used on a 16mm film shoot (drama) about two years ago. It happened as sort of a happy accident: I was originally using the light to simulate an overhead lamp of a conversation at a restaurant's dinner table. When the actor got up to stand next to the table and we framed for the dolly in close-up shot, my light meter was getting a great reading for his key from that China bulb, and it looked beautiful as it was, so I did not move the China bulb as we did for every other shot in that scene. The China Ball also provided a very beautiful catch light in his eye as well! There was also another close-up shot in that same scene where we used the 5K with an 8x8 silk (not too close to talent), which was actually our fill light in a previous shot. My gaffer suggested a chimera for the 5K originally, but I wanted the light to be more malleable, for easy altering on the fly, so the 5K with silk was what we went with. Then of course, I could move the silk closer or further away from the 5k for more or less diffusion, and add or subtract scrims/nets for more or less light, etc. There was also a different shoot (fantasy) in which I've used a Par can through Opal for the keylight, and it also had a very satisfying effect. I haven't necessarily gravitated toward one of these lighting setups yet (I like to change it up frequently for the additional experience), but my favorite shot was acquired with the China Ball! I would definitely use it again, but I haven't had to yet! Zachary J. Esters Link to comment Share on other sites More sharing options...
Pj Earley Posted February 12, 2013 Share Posted February 12, 2013 5k hmi through Unbleached Muslin, Through half frost Link to comment Share on other sites More sharing options...
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