I'm a 3D artist, and I find videos like this fascinating. I've worked on physical sets before, and watching what gaffers can do to a scene is like magic. My only wish is that you could take a shot from the finished angle without the lights, to compare exactly what you were seeing before you made your decisions, and also the effect the lights had.
Wow: not your normal Meet-The-Gaffer episode! Thanks for including the finished video at the start. There's so much more good information here than lighting. And we appreciate the fact you're featuring spaces that have abundant and intrusive exterior light sources that need to be addressed. Dark Flags Matter.
So great love seeing all the BTS man. Everything looks so natural in the lighting using the natural light of the background while adding that extra punch to the subject interviews with your lighting.
Your experience and knowledge is very engaging and inspiring, thank you so much for the work you put into these videos to show how you created/refined the lighting set-ups
@@meetthegaffer Well... My main jobs are for TV and Events... I have done some comercials and music videos but with a little budget... sorry for my english ... There are many lighting companies that are making good products for less money. I was able to buy 180 and 300 watt lights. My main job is filming, editing, photographing and now lighting, I'm always studying and learning, that's why I follow your channel and I love the work you and your team do. I can only thank you for the effort.
It’s great to hear about your work. We are all learning and adding to our experience. The more we collaborate the better we all can be doing what we love! Thank you for participating and all the best this summer. Your English is a lot better than my Spanish or Portuguese😁
Hey Luke! Great video! Would love to watch a video about your thoughts on time management on set from a gaffers and grip's perspective, specially in full busy days like these shown in this video. How do you guys deal with time constraints? When to call a scene lighting "good enough"? Is it always the Dop call? When to call a lighting idea "not worth it"? Do gaffers have a voice when discussing these things? Please! Make a video about it! I think it would be a really valuable discussion! 😊 And one more thing: what you mean when you call one of your buddies "the swing"? Haha Couldn't find an explanation anywhere in the webs... Cheers! 🇧🇷❤️
Hi Vlad, when we call someone a swing, it means they will swing between grip and electric, helping which ever department needs more help at a given moment or set-up. On some jobs there will be a gaffer and best electric as well as a key grip and best grip, and then a fifth person who helps both grip and electric. That fifth person would be the swing. Hope that helps!
Your videos are so knowledgeable. Thank you. My question is, why do you vary your keylight on most shoots? Obviously time of set up and location come into it, but is it one of those things where you get some creative choice. E.g. you'd really love to try out an old classic book light for a change then shift to a more modern setup next time to keep things fresh?
Different set ups do seem to call for different approaches; sometimes b/c the DP has a preference, sometimes because I want to try something new, or it just makes sense because of all the units required for the day and how a particular job was planned and/or budgeted. I never tire of finding a new, easier, faster, more elegant, or sometimes: a more difficult way to light a scene. Variety keeps it interesting😀
Always love your videos! Thank you for sharing. Any chance you could include percentage settings on some of the lights in your set ups? Sometimes I think oh, okay, I would need a 1200w in that situation, but if it's set to say 10%, then it's more a matter of using one light for many setups rather than actually needing that level of power...
True; and good point. On many of these interviews the 1200’s were near full output to work with the ambience. In situations like these it’s nice to have the headroom that a brighter unit gives you, where as in more intimate settings you often need units that have lower light capabilities, so the headroom on the top end is kind of a hinderance… that’s where 60-90 watt LEDs come in handy.
@@meetthegaffer what do you mean head room on the top end ? And when do the 60-90 watt led lights come in handy ? Are you meaning like the litepanel Astras ?
When you are planning out how much power you’ll need, it’s good to allow for extra amps so that you won’t be using all that your power source can provided: 1. In the event a unit you haven’t planned on needs power, and 2. Not to stress the power plant too much so that it runs smoothly for you for many hours. That’s what I meant by headroom.
In terms of 60-90 watt units, I’m thinking of the Aputure and Nanlux 60 d & x or d, b, & c or Dedo dled 7’s which are designated as 90 watt. Small point source units like that come in real handy to highlight smaller areas, either with doors, fresnels, projector lenses, or softening modifiers.
I shoot a lot of my videos in 4K and edit in 4K and then upload a 1080 version. Not sure how to reverse that at this point except uploading a newly compressed version?
Both of these videos were great! This looks like a project a friend of mine possibly worked on. Do you know if there was a producer named Vanessa Avery on this project? Thanks and subscribed!
Besides lights.. what is the most black scrims you used to block light on one scene and how many 12×12 scrims 8×8 scrims and 6×6 scrims where used all together ? People's minds usually think of the lights first but not the tools that diffuse ,block, and shape the light . Helps to know this so one can build up their nice lighting setups in time if not right away .
It’s true, the lighting appears to get more attention because it keeps changing and costing you money, and it’s where you make the money in rentals. The grippage is like a lost leader, but it makes your life on set so much better and sets you apart from others. Anyone can buy lights, but having ample grippage is the real service to the production. Most people build up their grip from smaller flag kits, to 40”, 42”, or 4x4 frames and floppies, depending on the size of your vehicle, and then add a 6x6 set, perhaps an 8x8 set, and eventually 12x12 and beyond. When you get to a van, sprinter, or box truck, you usually will want at least two of 6x, 8x, and 12x, and preferably in square tube and speed rail for both 8x and 12x because having rail in different lengths comes in handy for rigging. I have 3x 6x and 8x on my 2-ton. Then you start growing your goods beyond the regular single/double/silk/solid to include bounces, grids, and muzz, and other specialty fabrics like wind bounces and odd size grids and solids. For instance, beyond a couple 12x solids, I like to carry 2x 12x20 solid curtains that get used a lot. Hope that helps!
@@meetthegaffer yes it helps alot thanks . I was planning to get 6×6 Matthews frame and diffusion but I dnt know what is best the Matthews 6×6 quick corner frame ,heavy duty or Hollywood frame ? I also was wanting to get 3 maybe 3 Matthews 48×48 floppy cutters to block sunlight , unwanted light ,and or block sun from camera or monitor
This is aweosme but sometimes I wonder does it even matter. Key them and move on. Just something I think about... I am also not convinced on negative fill 90% of the time. Just drop the low mids in post.
We try to do our best with the time, equipment, and personnel available so that there is as little fixing to do in post… maybe more time to play if desired?
@@meetthegaffer Yes you are incredible this is just something I think, like the aputure + spotlight mount just for the plant... I guess what i mean is DOES THE CLIENT EVEN KNOW THE DIFFERENCE??? Its like we love to light every little thing, but I wonder if the client even knows... when I saw the first shot of the 600D on a 15-20plus foot stand... just for the escalator backlight... I thought do they even notice this stuff? Your work is great these are just my thoughts. I too bring a bunch of lights but ... I dont do corporate, who I feel has tons more money to throw at it, and knows/cares less about all the little details. (so perhaps I am incorrect and they do notice all those things... but man).
@user-zv7lm8uk7h Got it. A lot of what we do is noticed by the subconscious. If you asked a random viewer to tell the difference between an available light scene and a augmented lit scene, there may be awareness of difference but they may not be able to go into the nuance that we could. I think the main thing is to do your best with what you have no matter the audience. If no one notices, then you are the intended audience🙂
@@meetthegaffer Thanks for the reply. I own the Godox VL300 & M600D but would like to use the M600D on my new Godox VSA spotlight. Godox and Aputure stated on their websites that both their spotlights are for no more than 300W light. So i figured if you can use the Godox M600D on the "Aputure spotlight" then i might be able to use it also on the "Godox spotlight". I wanna try it out but am scared i might damage the spotlight..lol
I’ve refrained myself, for the most part. I use the Godox 600 in the Aputure spotlight only sparingly because it cuts a pretty good pattern. There’s something about the way the emitter lines up that is different than the 600D. However, you might want to try the Nanlite 720B which has a dedicated spotlight mount optimized for it🤷🏼
Yes, I often use a steel baby or junior stand with a lollipop or regular gobo head to a single slip-on pin to 3/4” rail connector (Modern Studio Equipment) and grab the square rail of an 8x8 set nearer to one side of the rail so that the stand doesn’t go up in the middle of the diffusion. It more or less the way we’ve always done it before wag flags came around. I should note that my 8x8 square tube frames are 3/4” stock, not 1”. It keeps the weight down and has plenty of rigidity. I go to 1” for 12x12.
The distances varied, but we would often be a 10-15 min walk back to the truck. There were 3 of us in G&E, so you want to find people who are adept at both even if they lean one way or the other.
@@meetthegaffer He did try the "Godox M600D" on the Aputure spotlight but not the "Godox Spotlight Mount". Godox stated that the "Godox Spotlight Mount" should not be used with any light exceeding 300w, but i thought it might be able to go up to 600w seeing its almost the same as the Aputure spotlight. Would really like for someone to test it out.
That was probably more a factor of how the leapfrogging worked out, but yes, having a fresnel added to the usefulness of the Evoke. Also, it was my first opportunity to use it, so there was incentive to use it in as many configurations as possible. Overall though, if I’m just reaching for the brightest unit for a smash of light, I’ll probably go for the 1200D because it’s faster to put together and control from the box rather than a head in the air. But both units are super useful an good alternatives to my trusty M18’s.
@@meetthegaffer if you hand to choose would you pick 2 aputure 1200d or 1 aputure 1200d and 1 nanlite evoke 1200 with frensel? I'm asking because I have 2 aputure 600d already but if I need extra punch I have a Ltm cinepar 1200 hmi I can bounce thru a 6×6 diffusion but I was wondering if I should get 2 aputure 1200 watt led lights and just sell my Ltm cinepar hmi 1200 . Just not sure how much I will need 1200 watts for music videos and corporate or business work here in Vegas and the Southern California areas
A 1200D, either from Aputure or Nanlux would be a nice replacement for the 1200 Cinepar. If you want to stay within a family of units, the Aputure probably makes the most sense. If you have smaller units, a larger one always comes in handy.
@@meetthegaffer I want to buy two 1200d Aputure lights or... 1 of each..1 nanlite evoke 1200 and 1 aputure 1200d . Which of those 2 options would you go. I have other aputure lights already
If you can use the quality of a fresnel, then there is value in picking up the evoke, but if you’re mostly looking for volume of light behind frames of diffusion then having two of the same units makes more sense. There are other factors too: like how you’re transporting these units and how you’re controlling them.
Mr. curry keyed with a dyno 1200c at a 5-foot distance. Would it still make a nice image without the 4x4 frame of diffusion in your opinion? th-cam.com/video/FzGfO6jP0MQ/w-d-xo.html
I think there is a 6x6 between the source and the subject, which makes the source larger and more diffuse, so you could certainly light him without the diffusion layer, but I’d rather go for softer in this instance.
I don't know fam, it seems like the director really squandered his opportunity to make something really beautiful. The natural light, the glass reflections, could have made something transformative, instead this comes off as overlit and a bit disingenuous to the architecture of the building. I mean I know you only do what the director wants, and they do what Goog's wants. But I think they could have done this with a bit more soul. Instead it looks like an Apple Campus Knock off.
I'm a 3D artist, and I find videos like this fascinating. I've worked on physical sets before, and watching what gaffers can do to a scene is like magic. My only wish is that you could take a shot from the finished angle without the lights, to compare exactly what you were seeing before you made your decisions, and also the effect the lights had.
This lighting breakdown is amazing, great work I must say.
Wow: not your normal Meet-The-Gaffer episode! Thanks for including the finished video at the start. There's so much more good information here than lighting. And we appreciate the fact you're featuring spaces that have abundant and intrusive exterior light sources that need to be addressed. Dark Flags Matter.
such an awesome format and insightful video. so glad you were able to show the actual video before you explained the video
Mad respect to your work, I learn so much in every video you upload!
This is so incredibly interesting and informative. Thank you
Beautiful job! Love it and thanks for sharing.
One of my favourite videos
wow what a fantastic learning video for new cinematographers!!! Thank you very very very much!!!
Something about that 12x12 ultrabounce in the rain made me smile.
Well done!
So great love seeing all the BTS man. Everything looks so natural in the lighting using the natural light of the background while adding that extra punch to the subject interviews with your lighting.
Really nice piece. Always interesting to see how other crews work...
This is such a great breakdown and I loved seeing the full piece (which I know you can't always share).
So happy this channel was recommended on tik tok
🤘🤘
Indeed, that is how all shoots should be.
You’re bout the only person I go to, to learn about lighting well - superb man!
Nice breakdown, I am glad you are using all the new LED lights.
Loved seeing every lighting setup! 34.3k followers get it. Thanks for sharing this!
Great piece Luke, and wonderful BTS, thanks!
Beautiful light, complementing a well crafted story. Great work here man, definitely giving me some inspiration for ways to combine certain fixtures.
Thanks for the time it takes to put all of this together! Very Informative!
Great stuff Luke. Really made the most of the environment.
The shot at 13:30 - safe? Seems terrifying.
Oh, that’s nothin’🤣
Always thankful for all these indepth bts =) thank you Luke
Your experience and knowledge is very engaging and inspiring, thank you so much for the work you put into these videos to show how you created/refined the lighting set-ups
This is GOLD! Great video Luke!
Amazing.
This is amazing. Thanks for all the BTS content
Great video, thanks so much for sharing this. Tons of great information.
Hi Luke, I really enjoy your content, always a great learning experience, thanks for sharing!
Your entire channel is "gold" but this video is the jackpot. Thank you! 🙌🏼
Great with this type of video - Very useful - Thank you!
Great video! Thanks for sharing your knowledge and expertise! Greetings from The Netherlands!
Hooray for the Netherlands!
Hey! Amazing work, super team!
I love to see all the brands of lights working together!
Greetings from Uruguay!
Cool! Do you work on similar jobs down there?
@@meetthegaffer Well... My main jobs are for TV and Events... I have done some comercials and music videos but with a little budget... sorry for my english ...
There are many lighting companies that are making good products for less money. I was able to buy 180 and 300 watt lights.
My main job is filming, editing, photographing and now lighting, I'm always studying and learning, that's why I follow your channel and I love the work you and your team do.
I can only thank you for the effort.
It’s great to hear about your work. We are all learning and adding to our experience. The more we collaborate the better we all can be doing what we love! Thank you for participating and all the best this summer. Your English is a lot better than my Spanish or Portuguese😁
This is such a great breakdown
These videos are super helpful and interesting, thank you!
Superb final product! Such a helpful breakdown as usual… also love your heart in this, highlighted at the end about a working ethos. Inspiring! :)
Hey Luke! Great video! Would love to watch a video about your thoughts on time management on set from a gaffers and grip's perspective, specially in full busy days like these shown in this video. How do you guys deal with time constraints? When to call a scene lighting "good enough"? Is it always the Dop call? When to call a lighting idea "not worth it"? Do gaffers have a voice when discussing these things? Please! Make a video about it! I think it would be a really valuable discussion! 😊 And one more thing: what you mean when you call one of your buddies "the swing"? Haha Couldn't find an explanation anywhere in the webs... Cheers! 🇧🇷❤️
Hi Vlad, when we call someone a swing, it means they will swing between grip and electric, helping which ever department needs more help at a given moment or set-up. On some jobs there will be a gaffer and best electric as well as a key grip and best grip, and then a fifth person who helps both grip and electric. That fifth person would be the swing. Hope that helps!
@@meetthegaffer I was somehow thinking that "swing" could mean that! :) Thanks, Luke! Keep the videos coming! They are awesome educational material!
Very informative. Thx.
Great work
Beautiful
Invaluable!!
Wow thank you 🙏
Your videos are so knowledgeable. Thank you.
My question is, why do you vary your keylight on most shoots? Obviously time of set up and location come into it, but is it one of those things where you get some creative choice. E.g. you'd really love to try out an old classic book light for a change then shift to a more modern setup next time to keep things fresh?
Different set ups do seem to call for different approaches; sometimes b/c the DP has a preference, sometimes because I want to try something new, or it just makes sense because of all the units required for the day and how a particular job was planned and/or budgeted. I never tire of finding a new, easier, faster, more elegant, or sometimes: a more difficult way to light a scene. Variety keeps it interesting😀
Great stuff! Almost HMI free except for the Jo-Leko - would you say the Godox M600D in the spotlight mount comes close to the Jo-Leko for output?
Getting there! Can’t quite retire it yet.
Nice work, Luke. How many days?
4 days
Always love your videos! Thank you for sharing. Any chance you could include percentage settings on some of the lights in your set ups? Sometimes I think oh, okay, I would need a 1200w in that situation, but if it's set to say 10%, then it's more a matter of using one light for many setups rather than actually needing that level of power...
True; and good point. On many of these interviews the 1200’s were near full output to work with the ambience. In situations like these it’s nice to have the headroom that a brighter unit gives you, where as in more intimate settings you often need units that have lower light capabilities, so the headroom on the top end is kind of a hinderance… that’s where 60-90 watt LEDs come in handy.
@@meetthegaffer Awesome! Thanks for the info!
@@meetthegaffer what do you mean head room on the top end ? And when do the 60-90 watt led lights come in handy ? Are you meaning like the litepanel Astras ?
When you are planning out how much power you’ll need, it’s good to allow for extra amps so that you won’t be using all that your power source can provided: 1. In the event a unit you haven’t planned on needs power, and 2. Not to stress the power plant too much so that it runs smoothly for you for many hours. That’s what I meant by headroom.
In terms of 60-90 watt units, I’m thinking of the Aputure and Nanlux 60 d & x or d, b, & c or Dedo dled 7’s which are designated as 90 watt. Small point source units like that come in real handy to highlight smaller areas, either with doors, fresnels, projector lenses, or softening modifiers.
Is it possible for you to upscale the video to 4K so youtube doesn't crush it severely? Wonderful video.
I shoot a lot of my videos in 4K and edit in 4K and then upload a 1080 version. Not sure how to reverse that at this point except uploading a newly compressed version?
Wow...Just fuckin Wow! Great work
Both of these videos were great! This looks like a project a friend of mine possibly worked on. Do you know if there was a producer named Vanessa Avery on this project? Thanks and subscribed!
That was it!
Selfie with Mr. Bjarke Ingels, no ?
I’m not sure what you mean.
@@meetthegaffer was asking if u had a selfie with Bjarke Ingels, the best architect in the world 😄
Oh, dear! I didn’t realize I was in the presence of greatness😬
Besides lights.. what is the most black scrims you used to block light on one scene and how many 12×12 scrims 8×8 scrims and 6×6 scrims where used all together ? People's minds usually think of the lights first but not the tools that diffuse ,block, and shape the light . Helps to know this so one can build up their nice lighting setups in time if not right away .
It’s true, the lighting appears to get more attention because it keeps changing and costing you money, and it’s where you make the money in rentals. The grippage is like a lost leader, but it makes your life on set so much better and sets you apart from others. Anyone can buy lights, but having ample grippage is the real service to the production.
Most people build up their grip from smaller flag kits, to 40”, 42”, or 4x4 frames and floppies, depending on the size of your vehicle, and then add a 6x6 set, perhaps an 8x8 set, and eventually 12x12 and beyond. When you get to a van, sprinter, or box truck, you usually will want at least two of 6x, 8x, and 12x, and preferably in square tube and speed rail for both 8x and 12x because having rail in different lengths comes in handy for rigging. I have 3x 6x and 8x on my 2-ton. Then you start growing your goods beyond the regular single/double/silk/solid to include bounces, grids, and muzz, and other specialty fabrics like wind bounces and odd size grids and solids. For instance, beyond a couple 12x solids, I like to carry 2x 12x20 solid curtains that get used a lot. Hope that helps!
@@meetthegaffer yes it helps alot thanks . I was planning to get 6×6 Matthews frame and diffusion but I dnt know what is best the Matthews 6×6 quick corner frame ,heavy duty or Hollywood frame ?
I also was wanting to get 3 maybe 3 Matthews 48×48 floppy cutters to block sunlight , unwanted light ,and or block sun from camera or monitor
Again, depends on a lot of factors: size of truck, carts, and how you transport your units.
Google using the Venus project
This is aweosme but sometimes I wonder does it even matter. Key them and move on. Just something I think about... I am also not convinced on negative fill 90% of the time. Just drop the low mids in post.
We try to do our best with the time, equipment, and personnel available so that there is as little fixing to do in post… maybe more time to play if desired?
@@meetthegaffer Yes you are incredible this is just something I think, like the aputure + spotlight mount just for the plant... I guess what i mean is DOES THE CLIENT EVEN KNOW THE DIFFERENCE??? Its like we love to light every little thing, but I wonder if the client even knows... when I saw the first shot of the 600D on a 15-20plus foot stand... just for the escalator backlight... I thought do they even notice this stuff? Your work is great these are just my thoughts. I too bring a bunch of lights but ... I dont do corporate, who I feel has tons more money to throw at it, and knows/cares less about all the little details. (so perhaps I am incorrect and they do notice all those things... but man).
@user-zv7lm8uk7h Got it. A lot of what we do is noticed by the subconscious. If you asked a random viewer to tell the difference between an available light scene and a augmented lit scene, there may be awareness of difference but they may not be able to go into the nuance that we could. I think the main thing is to do your best with what you have no matter the audience. If no one notices, then you are the intended audience🙂
Was the "Godox M600D" on FULL POWER when used on the Aputure spotlight? And how long did you use it for?
I don’t recall for sure, but think it was and was probably on for an hour or so.
@@meetthegaffer Thanks for the reply. I own the Godox VL300 & M600D but would like to use the M600D on my new Godox VSA spotlight. Godox and Aputure stated on their websites that both their spotlights are for no more than 300W light. So i figured if you can use the Godox M600D on the "Aputure spotlight" then i might be able to use it also on the "Godox spotlight". I wanna try it out but am scared i might damage the spotlight..lol
I’ve refrained myself, for the most part. I use the Godox 600 in the Aputure spotlight only sparingly because it cuts a pretty good pattern. There’s something about the way the emitter lines up that is different than the 600D. However, you might want to try the Nanlite 720B which has a dedicated spotlight mount optimized for it🤷🏼
Is the flag on 8:00 and the magic cloth scrim on 8:40 just hanging from a single top bar? If so, what bar setup is that? Thanks!
Yes, I often use a steel baby or junior stand with a lollipop or regular gobo head to a single slip-on pin to 3/4” rail connector (Modern Studio Equipment) and grab the square rail of an 8x8 set nearer to one side of the rail so that the stand doesn’t go up in the middle of the diffusion. It more or less the way we’ve always done it before wag flags came around. I should note that my 8x8 square tube frames are 3/4” stock, not 1”. It keeps the weight down and has plenty of rigidity. I go to 1” for 12x12.
@@meetthegaffer thank you!
What are you using for your negative fill at 9:50?
That’s just a 12x12 solid
Great video Luke. Roughly speaking, how far from the truck was the set? Did you only have 3 people in g&e total?
The distances varied, but we would often be a 10-15 min walk back to the truck. There were 3 of us in G&E, so you want to find people who are adept at both even if they lean one way or the other.
@@meetthegaffer yikes. Did you cart a lot of gear around with you so you didn’t have to make many trips back to the truck?
💯 3x backstage style carts, 3x hampers, and a steel folding cart🙂
Do you think the "Godox M600D" would work with the Godox Spotlight Mount?
I have no idea! Has Andrew Lock reviewed it?
@@meetthegaffer He did try the "Godox M600D" on the Aputure spotlight but not the "Godox Spotlight Mount". Godox stated that the "Godox Spotlight Mount" should not be used with any light exceeding 300w, but i thought it might be able to go up to 600w seeing its almost the same as the Aputure spotlight.
Would really like for someone to test it out.
It seems you used the Evoke more than the 1200d. Would you say it's a more versatile light?
That was probably more a factor of how the leapfrogging worked out, but yes, having a fresnel added to the usefulness of the Evoke. Also, it was my first opportunity to use it, so there was incentive to use it in as many configurations as possible. Overall though, if I’m just reaching for the brightest unit for a smash of light, I’ll probably go for the 1200D because it’s faster to put together and control from the box rather than a head in the air. But both units are super useful an good alternatives to my trusty M18’s.
@@meetthegaffer if you hand to choose would you pick 2 aputure 1200d or 1 aputure 1200d and 1 nanlite evoke 1200 with frensel?
I'm asking because I have 2 aputure 600d already but if I need extra punch I have a Ltm cinepar 1200 hmi I can bounce thru a 6×6 diffusion but I was wondering if I should get 2 aputure 1200 watt led lights and just sell my Ltm cinepar hmi 1200 . Just not sure how much I will need 1200 watts for music videos and corporate or business work here in Vegas and the Southern California areas
A 1200D, either from Aputure or Nanlux would be a nice replacement for the 1200 Cinepar. If you want to stay within a family of units, the Aputure probably makes the most sense. If you have smaller units, a larger one always comes in handy.
@@meetthegaffer I want to buy two 1200d Aputure lights or... 1 of each..1 nanlite evoke 1200 and 1 aputure 1200d . Which of those 2 options would you go. I have other aputure lights already
If you can use the quality of a fresnel, then there is value in picking up the evoke, but if you’re mostly looking for volume of light behind frames of diffusion then having two of the same units makes more sense. There are other factors too: like how you’re transporting these units and how you’re controlling them.
hair light for mr.Curry who doesn't have hair
Mr. curry keyed with a dyno 1200c at a 5-foot distance. Would it still make a nice image without the 4x4 frame of diffusion in your opinion?
th-cam.com/video/FzGfO6jP0MQ/w-d-xo.html
I think there is a 6x6 between the source and the subject, which makes the source larger and more diffuse, so you could certainly light him without the diffusion layer, but I’d rather go for softer in this instance.
@@meetthegaffer Thank you for your time. Great Video!
"big hairy problems..." 🤢
I don't know fam, it seems like the director really squandered his opportunity to make something really beautiful. The natural light, the glass reflections, could have made something transformative, instead this comes off as overlit and a bit disingenuous to the architecture of the building. I mean I know you only do what the director wants, and they do what Goog's wants. But I think they could have done this with a bit more soul. Instead it looks like an Apple Campus Knock off.
We can always be better. We do our best within the constraints of time, budget, personnel, weather, unforeseen changes.