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    #11
    Senior Member paulears's Avatar
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    May 2009
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    I often smile at these kinds of things when we sort of reinvent things, claim them as new and amazing and then create a market for a product that is often sort of a mistake.

    I’m old now so looking back you see things over and over again. When I was kit starved and money was tight, I often made do and mended. Have you ever had an arri Fresnel with a cracked lens? They would throw really pretty coloured fringes, and diffuser of all sorts was tried to get rid of them with varying results, none perfect. Broken Fresnel lenses do this rainbow thing really well.

    As I’ve always done live stuff on stage, we’d have big problems with spill from video projectors and often we’d have complicated cues for the vidiots to follow and we’d get it wrong and cue 125, which might be shutter close, came late and we’d accidentally light an actor with a picture active, like a lake, or the sea. Sometimes it looked terrible, but other times the texture applied to faces looked great, or maybe it made a costume come alive. You can throw dapples, or sparkles or even weird patterns. It’s also possible to do colour gradients maybe cyan into yellows or blue into red. With photoshop and even a small modest projector if you are after effects you already probably have the capability without buying anything. Marketing happy accidents as new products does make me smile.

    Next time you have something set up with a white screen and some time to kill, and have a projector, try to project some abstract stuff, it’s amazing!


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    #12
    Senior Member JPNola's Avatar
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    Nov 2014
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    New Orleans USA
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    I don't trust any lighting product developed by someone who calls themselves a "Director".
    Big sources matter.


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    #13
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    This whole idea seems to be pushed for skin tones only. Having worked for more than two decades for clients that were super critical about the color of their clothes, gems and products (about half pre-digital and half afterwards) I can only imagine the nightmare trying to achieve accurate color on the various items in a scene lit with this approach. Talk about crossover and contaminated color problems.... Even a soft bounce reflector that lowers the color temp by 500K can make it hard to get the color where you want it and may require careful select color adjustments (easy enough on stills today, but not quite as easy in a moving set) where there may be several distinct adjustments needed to please a color critical client. Just my two cents.

    B


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