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Having all the best, or the same identical equipment wont get you similar results. It’s the intention, prep and experience that get those visuals and emotions to come through. With a team effort. If you gave me the same exact car an F1 driver uses, I wouldn’t even know how to use it let alone race it well. And the same, if you gave me the same equipment package (and crew) Roger had in a given scene, I would not get the same result. Even the most experienced DPs would not get the same result. Everyone’s perspective will just be different. Then this goes back to experience and vision on the flip side of things. Roger has shown examples of only using bounce and negative to make a shot work, and it looked great. It’s not the gear stopping us from getting a good and/or stylized look. Though I too would love access to some 20ks and a big crew for a shoot haha! I wrote this because it was a good reminder to myself as well
Thanks David, all good points and makes sense with some good ideas too!
This idea was more so to diffuse the bounce light instead of soften it. I was thinking the light would pass through the 1/4 grid, hit the ultrabounce, and come back through the grid cloth, creating a lower level of light.
Agree a book light would be much better and softer! In this case I was thinking of this as fill from the camera side, where there is already a key light. And I am just trying to bounce back a little bit of light to the shadow side.
Thanks again for the reply!
If I may chime in, it feels like we would need more context to really weigh in on this. A few thoughts though in case it helps anyways. You mention they are both facing north, so if you are trying to use two locations to cut this dialogue scene then that wont have lighting continuity. If they are supposed to be facing each other talking, then one would face north and the other south,etc (but again maybe I need more context).
You could also consider only shooting into one corner of the room that has all the elements you want, with a 2 shot of both characters to establish they are together. Maybe don’t even go into close ups and keep the 2 shot. Or punch in really tight on each close-up, like just the eyes while they speak. That could be stylized.
You could also make it so that they are having a conversation on the phone. Then you can have 2 locations and not fight them to feel like the same room. Also a natural light shoot, indoors with no window sounds like a tough task!
Just throwing some ideas to think about, without having context of your story
I searched in the archives here and found some related answers! Apologies for the repeated question. The answer seems to be that it is a good thing for the most part, but it depends. Haha!
Yeah definitely makes sense! Now this brought up another interesting thought, which I am probably overthinking but am curious about anyways haha.
Let’s say you are lighting a face for a ratio, say 4:1 or something. Does metering the contrast levels reference the LOG image, or the image after converted to rec709,etc.?
For example if you do use a light meter to light these ratios exactly, will converting to 709 or P3 crush those levels even more?
I can now see an issue using false color to set contrast ratios because you would be setting them for the LOG image. And then after converting to a given color space, it could increase the ratio levels. Is this correct or am I misinterpreting?
I’m not sure the right way to ask this question but hopefully this makes sense. It may not even matter if you go by the meter, but I’m now curious how contrast ratios would be affected between the log file and the colored image.
This is true, I suppose I used the term ratios a little loosely. I think of it that way when doing the interview setups. Since I use the false color on the run and gun scenes a lot, it makes sense for me to also use it for the interviews and seeing where my background levels sit, windows, shadow side etc. It just feels right to use a consistent tool. I’m also starting to be sold on just pulling the meter out with me.
Zebras are a good idea for the quick moving setups! Although I’ve liked the idea of seeing how many stops over I am in a certain area, versus just seeing if I am clipping or not (depending on the ire setting). But I could actually see that useful when moving very fast. Thanks for the ideas!
Ah yes, I do hope to reach that point one day. It makes total sense, and always appreciate your insight and responses Roger!
I should have been more clear in my first question about subject matter, my apologies. I do run and gun documentary shoots a lot. None or minimal lighting for broll scenes. Directors love to call for ‘verite.’
So I’ve found false color to be a really fast check in these scenarios, when the practicality of a light meter isn’t there. I don’t use it to light from, only to check my face levels and highlights really when working fast.
I’m just trying to make sure the lut/color pipeline isn’t tricking me
