[caiyichenweg]

Oh, I think I had an issue with my English expression. I actually meant to ask about shots with a larger scene size, not wide-angle lenses. To help you understand better, let me give an example: suppose a character is in a living room. When shooting a close-up, I use a bounce light source to give the character soft lighting. When switching to a full-shot (panoramic view), how should I handle the bounce light source to maintain the light texture and contrast (both wrapping the subject and preserving overall contrast)? For full-shots, would you switch to using a Lighting through diffusion for the character’s lighting, or move the bounce light source farther away and control it with more black cloth, or change the reflective material to a harder, directional silver reflector (which might require adjusting the color temperature)?Overall, what are your insights and suggestions for lighting wide shots to maintain consistent contrast and light quality across all shot sizes (wides, mids, and close-ups)?

[caiyichenweg]

Vasu wrote:

Thanks Master. I recently shot a scene where i lit my wides with lights through diffusion may be double diffused for soft light & shadows. For close ups & mid shots i did bounce through muslin. The softness & wrapping of light is very smooth in bounce but while cutting through wides i can clearly the variation in lighting & contrast. I Was not happy with my work. Can You share some insights for lighting up the wide shots through bounce lighting & still not losing the over all contrast. Thanks master.

I also really want to know the answer to this question! Master Roger! Do you still use bounce lighting in wide shots, but replace it with a harder transmission?

[caiyichenweg]

Thank you very much for your sharing!!!

[caiyichenweg]

[caiyichenweg]

[caiyichenweg]

[caiyichenweg]

Thank you very much for your reply. There is no doubt that these scenes have left a deep impression on us. I’ll watch Roger’s movies again and study them carefully.

[Author]

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