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    #16
    I like it Barry, very moody. I think I would have backlit the keyboardist more to separate her from the background, especially her hair. Right now she seems a little gray and flat. Depending on what was behind the bassist, it might look good to splash some light behind him (like you did with the drummer) to give us a sense of his shape.
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      #17
      Originally posted by ProfessorU View Post
      I like it Barry, very moody. I think I would have backlit the keyboardist more to separate her from the background, especially her hair. Right now she seems a little gray and flat. Depending on what was behind the bassist, it might look good to splash some light behind him (like you did with the drummer) to give us a sense of his shape.
      I felt completely the same way after shooting. We ended up putting in a stronger backlight on the closeup coverage. I think a 300 with opal.
      www.barrycheong.com

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        #18
        Not bad Barry. I wouldn't mind a hard backlight to complement a softer frontal key. I like the fog. I'd also have tried some 1/4 or 1/2 CTO on the keyboardists soft key just to warm her up.

        I also like that the background lighting on the drummer is more toppy and hard, just think it's better to distinguish the lead keyboard player from the rest of the band by keeping her soft and the background players lit more hard and moody.

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          #19
          Great, sticky?
          Iņaki Lauzirika
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            #20
            Maybe not yet. Hopefully, people will respond well though!
            Last edited by Danstin Studios; 12-30-2007, 06:36 PM.
            "We are all capable of being great. It is our inability to do so that makes us miserable." C.S. Lewis

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              #21
              Great thread so far! I'd really love to see some examples of night lighting - where it looks dark...yet lit if you know what i mean. Like it's unmistakably night, and it doesn't look lit, despite you being able to see clearly

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                #22
                i tried a few of those a while back, ill have to go and find my old thread.
                here we go



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                  #23
                  Looks good Papa - I see the softbox behind for a backlight, the chinaball for fill ( I assume the one behind the camera is just extra? ), the key with diffusion, and two stands that extend out of frame - anything coming from those two stands? Thanks for sharing!
                  Jeff Anderson
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                    #24
                    the camera is in it's second position, but the first china ball does infact light the duck that is in the foreground.

                    those two stands i used to rig the microphone to hang above me lol ( SOLO )

                    and then i had one more of the ccool white fluorescents lighting the background slightly, where the chair is against the curtain.
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                      #25
                      where do you guys get your china balls. is that something that i would be able to get at home depot or something.

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                        #26
                        i got them at ikea, and the bulbs at home depot, or canadian tire, but you probably don't have that in the states.
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                          #27
                          Originally posted by Dougyfresh13 View Post
                          where do you guys get your china balls. is that something that i would be able to get at home depot or something.
                          I bookmarked this:
                          http://www.eparasols.com/36whnyla.html
                          Never bought there though, cause I´m not from the states...
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                            #28


                            To the right of the talent I shot a 6K Arrisun HMI through an 8'X8' silk, about 40 or so feet away. This raked the background as well.

                            Left of talent, I added a 2K gelled with 1/2 CTO off a pancake to simulate fill from the fire. This light was wired to a flickermaster as well.

                            Inside the window is a 1K gelled with 1/4 straw, through a sheet of Opel diffusion.




                            Above the talent here is a 500W China, 36" I believe. It was gelled with a 1/2 CTO and 1/2 Straw.

                            In front of him, to provide the soft warmth of a candle which is previously established, is a 200W 16" China on a flickermaster to simulate the subtle flickering of the candles.

                            For his subtle moonlight motivated backlight is a fatboy Kino with daylight tubes, and a 1/4 + Green.



                            For a full production breakdown with lots more stills, check out this thread.

                            http://www.dvxuser.com/V6/showthread.php?t=115765
                            Andrew Brinkhaus |director of photography
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                              #29
                              those are some great shots andrew.

                              For the china lanterns, i can't seem to find cables that support more than 75 watts on them. They all say max 75 watts. So i am stuck using smaller wattage bulbs. Where did you get your wires, and what bulbs would you suggest using?
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                                #30
                                I bought my chinaballs and cables from Asian Ideas, they go from 4" up to 42", good price, super fast shipping, no complaints. The LANTERNS I bought are only rated for a 60W bulb because of the heat, but the sockets and cables they shipped me run up to 300W. So far I've been using CFLs anyway, but I would guess you could run 300W for a short time in the bigger lanterns. I have been known to hang the sockets without a lantern from time to time, as well. It's a nice thing to have in your kit.

                                They make some specialty ones, as well. I would consider buying a set of special color lanterns for a unique project or music video.

                                What do you guys use to mount chinaballs? Is there an easy way to get them to stick to the ceiling or do you just use c-stands?
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