Help with identifying lighting…

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    • #95394

      Hey all,
      I’m a recording guy so forgive my video/lighting ignorance. I’m back in the market for some lighting to help shoot myself and bands in the recording studio. Can you watch a bit of this video and tell me what lights (or type of lights) are positioned on the floor. They look to have adjustable brightness and louvers. I’m also open to suggestions on ANY lights that will give me a similar look (and preferably not throw a ton of heat on musicians)


    • #216114

      Take a look at the Videomaker Magazine tutorials on lighting. They are excellent and will provide you with lots of useful information.

    • #216118

      All I see is a panel of some kind, and it’s not very bright and then near the end there is a side shot of a PAR 56 or 64, it looks a little small, so probably a 56 and possibly an LED version?

      I’m not seeing any louvres? Where about? If they’re LED then they’ll be DMX controlled – if tungsten, then it will be dimmers. The don’t appear to be doing very much, as the lighting on this is generally a bit murky and low intensity,

    • #216125

      I should have maybe posted this one. Right at :28 you can see the lights on the floor.

    • #216126

      ah – Studio soft lights from many of the main manufacturers over the year years have had what they call egg crate panels fitted to the front. Their purpose is to prevent the soft light spreading too much. The old soft light designs always had as bigger frontal area as possible to reduce the shadows, but the by product was huge amounts of spill. Egg crate attachments kept the light soft, but reduced the spill drastically. They now use it on commercial office fluorescent fittings – which stops people getting dazzled when they view rows and rows of them in suspended ceilings, yet lets the light travel downwards. Tiffen have a useful info page [url][/url] In this case, though, I suspect these are just ordinary LED panels, disguised as wedge monitors with commercial plastic egg-crate cut to fit, and just laid on top. They’ve been dimmed considerably so they don’t do much, but just look good. Beware of using them as real lighting sources when placed down there. It’s EXTREMELY unflattering and produces un-natiral lighting. We’re used to shadows under the nose, and under eye-brows. Light from below produces shadows in unusual places – and historically, when theatres used footlights, they had the same problem, so theatrical makeup was designed to darken the right places and lighten the shadows from the footlights – hence why old theatre makeup photos showed some very odd ‘looks’ in normal lighting. This video uses them for effect, not illumination.

    • #216145

      Very helpful. That all makes sense – thank you.
      If I can ask, what do you think of Kino flos as an option for my needs? And would a couple Diva 415s adequately light individual musicians or a band? (My main room is about 20′ x 20′ with 10′ ceilings) seems like I may need more than a 2 soft light kit. Maybe more like 1 or 2 lights per musician?
      Truthfully, that kind of low light look in the Radiohead vidz would work fine. And in some cases I’d want to be (or the subject to be) half in shadow.

    • #216157

      Kino Flos? Anyone? Class?

    • #216179

      You need to think about two important things. Illumination and ‘look’.

      You can use any light source to do both – but some do it better than others. All light sources will be hard or soft from the viewpoint of shadows they create. Do you want shadows? Shadows create contrast, contrast helps depth perception, and makes objects appear to have depth and shape. This can be good or bad, depending on what you wish to do. If you main character has bad skin, and maybe has spots under makeup, then hard lighting will make the humps and bumps and holes stand out. Soft light hides them. So soft light for everything then? Probably not because it’s bland, boring and unexciting. So in most cases, the number one technique is create some shadows for depth and contrast, then partially fill them in with some soft light. For ‘artistic’ reasons, sometimes flat soft light is what the director wants. Blast the hell out of the set and you can put cameras anywhere and pictures will be great. No nasty shadow areas anywhere. Two different objectives and whoever is in charge needs to select the most appropriate (not best) one. Bright flat even lighting means smaller apertures, less focus problems, and no huge contrast to deal with. Shadows, and strong key lighting mean it’s harder for the camera, so exposure and focus become more critical, but might look better for a certain type of shoot.

      All the different types of lights and brands do it differently but achieve similar results. PC lenses, give razor sharp shadow edges. Fresnel lenses give less defined edges but proper shadows. Tubular lamps give softer light ion some directions harder in others. Long tubular types without direct paths from the lamp give soft light that is still directional. Then we have diffuser fitted types with a big front area which are nice and soft. Others might use reflectors to increase the light emitting area. This covers practically all types, including the LED panels, which are just big emitting areas. All the different brands have operational features users like or hate, but I just use any tool available to do the job I need done – not being hung up on specific brands or types.

      If you want the look they have in that video – you need LOTS of equipment, decent height to hang the kit, and plenty of eye candy to take the mind of the flatter style. Much of the kit you can see does little for lighting, i’s far too dim and in the wrong places, but looks good in shot.

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