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CRLS, Lightstream and the reflected light paradigm


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The first theatrical application of this technique that I remember, us from the movie 'THE SCORE'(2001) directed by Frank Oz and photographed by Rob Hahn. There is an American Cinematographer issue from the summer 2001 covering the production. Hahn's motivation was the shadowy world of thievery the main characters occupied. The small mirror technique is used throughout the film, but is most obvious in the scene at the indoor swimming pool.

 

https://flic.kr/p/2ka1Qfy

 

https://flic.kr/p/2ka2d7W

 

 

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  • 2 weeks later...
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Understanding their properties will help you decide when and how to use them. I'll explain, because they are not ideal in every situation.

CRLS reflectors are literally aluminium mirrors with a frosted surface. The frost ranges from #1, #2, #3, to #4, the latter being most frosted. Box 2 in the image is akin to CRLS. The light frost keeps the beam intact but slightly spreads it. Box 3 is a traditional insulation board, which is directional but wastes light in other directions.

CRLS1.thumb.jpg.99cf3c5910426307514c96ff2f819559.jpg

You can re-create the CRLS properties by using a mirror and draping frosted gel over the glass. Half-hampshire, full hampshire, and opal are good analogues. I've done this when I needed to backlight a steamer in a cramped bathroom. But mirrors are heavy and fragile. CRLS reflectors use a polished aluminium plate, so they are shatter-proof, but the exposed ductile aluminium can be easily scratched (they come in protective soft cases). Their precise manufacture and measured strengths of frosting makes them high quality and efficient reflectors. That is their main strength as reflectors. Unfortunately they're expensive, so they won't be replacing mirrors or the less efficient depot insulation boards.

So that's their physical properties.

Onto the use of the system.

Using mirrors/reflectors is beneficial in situations where, 1) You need more distance in a small space, 2) budget limits gear rental to place light fixtures high. The benefit is you can place a large reflector out the window on a combo and avoid renting a crank stand for a heavy light fixture. Light adjustments can be done on the floor and make for a speedy setup.

But it may just as easily be better to place individual lights. So it's use should be weighted before setup.

CRLS2.thumb.jpg.715e517f28fda708dce160a1040ef6db.jpg

The drawback of the system that Lightbridge promotes is it ends up being wasteful with light. Notice in the picture above how much light is collected vs wasted. In addition, that wasted light can hit a white ceiling or wall and provide fill to the room where it might not be desired. Also, the system promotes subject lighting from a single location. If all your reflectors are pulling from a light on the left of frame, you will need something on right of frame for a kicker, hair light, fill, etc.

CRLS3.thumb.jpg.62e861dd7c7d5a47fdb2e8653f787623.jpg

Keep in mind that CRLS is a frosted mirror, and is no different than shooting direct through a frosted frame. The benefit with a reflector is utility in a compact space, or having light appear from an unachievable angle. The benefit with direct through a frame is the frame distance can be adjusted on a whim. If you wished to bring the reflector closer to the subject to take advantage of the frosted panel, then both the light and reflector will have to travel, then the light will have to back off to maintain the original distance to subject. Neither methods are superior, neither are inferior. So don't try to work only within one "system." It will be limiting.

With that said. Don't let other people sell you on a higher form of mysticism about these shiny boards. Remember that they are only frosted mirrors. A 50x50cm #1 reflector is NO SOFTER than a 50x50cm #4 reflector. Their softness is equal and shadow lines will not feather more. The #4 has a heavier frost, so the beam is diffused upon exit of the mirror. If you want softer, you'll need a larger board or move the reflector closer to subject.

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  • 2 weeks later...

Had the starter kit for a while now, I'd say they're handy to have and fun to play with but far from essential. They aren't really a replacement for lights but more of another tool in the box. And as Stephen mentioned they are amazing for flying up high and keeping the light down low.

They work best when used with powerful beam style lights like the PB70 and the smaller Dedo series with projector attachments. That helps stop the wastage/unwanted fill Stephen mentioned.

One thing I really like doing with them is tapping into an existing light source just to add some interest or punch. So you light the way you would normally but then dip the reflector into the source from a magic arm.

I went to a few workshops here in the UK which really helped me think about how I might use them on the smaller gigs I tend to do.

The guys at Reflectric are brilliant at using them and a great resource if you're thinking of working with the CRLS/Lightstream system.

https://www.instagram.com/reflectric_/

I'd love to see more finished examples of shots where people have used them. There's a tonne of BTS shots available but not much showing the final scenes.

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  • 3 weeks later...

@Jaimie Neale I use them a lot for product shots or in tight spaces for interviews, because I can create a feeling of natural light. 

I mix it with traditional soft 6x6 and 4x4 difusión as well for book lights or through out windows because it adds extra distance from the source to the objet and it helps with the inverse square law.

I good tool in the box! 

 

Captura-de-pantalla-2020-12-24-a-las-16.17.47.jpg

Captura-de-pantalla-2020-12-24-a-las-16.25.24.jpg

Captura-de-pantalla-2020-12-24-a-las-16.28.43.jpg

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  • 1 month later...

this might be off topic, but it kind of has to do with reflecting light off a mirror. This guy makes an artificial daylight room in his house. He used a satellite dish and put an LED where the antenna would go so it makes it seem the source is at infinity and get a consistent shadow size at different distances. Thought that was pretty smart. He also made a diffusion frame with soap in it to scatter the light and have a blue sky ambient with out effecting the kelvin of the actual LED source. 

 

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1 hour ago, Danner Gardner said:

this might be off topic, but it kind of has to do with reflecting light off a mirror. This guy makes an artificial daylight room in his house. He used a satellite dish and put an LED where the antenna would go so it makes it seem the source is at infinity and get a consistent shadow size at different distances. Thought that was pretty smart. He also made a diffusion frame with soap in it to scatter the light and have a blue sky ambient with out effecting the kelvin of the actual LED source. 

 

This is super good! 

The soap  +  water diffusion is amazing. I wonder how any production designer would  react to me asking for all the windows on a set to be filled with soap  + water ? .

Thanks for posting it. 

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  • 1 year later...
On 1/4/2021 at 6:06 PM, Fran Tormo said:

@Jaimie Neale I use them a lot for product shots or in tight spaces for interviews, because I can create a feeling of natural light. 

I mix it with traditional soft 6x6 and 4x4 difusión as well for book lights or through out windows because it adds extra distance from the source to the objet and it helps with the inverse square law.

I good tool in the box! 

 

Captura-de-pantalla-2020-12-24-a-las-16.17.47.jpg

Captura-de-pantalla-2020-12-24-a-las-16.25.24.jpg

Captura-de-pantalla-2020-12-24-a-las-16.28.43.jpg

What size reflectors do you use with the 4x4 and 6x6s?

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