Bounce light or diffuse, or bounce and diffuse? (4 replies and 2 comments)
This topic is open for anyone to chime in: when working with a single source keylight, does the environment sort of dictate whether or not you choose to bounce light rather than bounce AND diffuse. In the image I’ve provided, this keylight on Jake G looks more bounced rather than bounced and diffused. Hugh is lit a bit softer in this scene, so the light looks more diffused rather than just bounced. I guess what I’m trying to ask is, while always keeping in mind the story and the feel of what’s happening in the scene, does the motivated light in the window give you a sense of how soft you want the light to fall on each actor based on where they are positioned in the room? Or does all that not matter too much, it’s just an intuitive decision based on the story? Or is it a combination of both?
Image of Jake:
It is a combination of both the practicalities of the set and the kind of light you are trying to build. In this case there was a row of small windows and a deck outside. The view was of no interest, and we were hardly intending to shoot that way either, so I bounced HMIs off White reflectors and then I covered the window glass with some light diffusion. The space was limited but using 4K Pars (or maybe 6Ks) I could get enough exposure to allow for the diffusion.
Yes, Master Roger, I find that you have made windows this way in many of your movies.
What material did you use to cover the window glass?
White paint or white hair gel?
What's the best thing to use?
It was probably a Hampshire frost or an Opal frost diffusion. They are made specifically for film work. A light tracing paper would work but such a thing is hard to find in our computer age. Who uses tracing paper anymore?
Some indian dop using tracing paper for diffuse the artificial lamp. But the teacing paper biggest pain wind can easily broken the paper!
Yes, but it would be fine against window glass.