Diffused kino flo versus Book light set up

[omar robles]

I have a question for the experienced cinematographers on this site. I have come across Shane Hurlbuts page talking about the book light set up. I enjoyed the look he got from his set up, however I am wondering if it isnt easier to just diffuse a kino flo to get a similar soft look? It just seems more complicated to set up a more complex lighting set up to get a look you could use with just diffusing one light.

 

[Phil Holland]

You'll find often with many common lighting setups there are several ways to achieve a similar look. What is better? Depends on your shoot, what's on the truck, and time usually. Some DPs stick to certain types of lighting gear even for the general quality of light. Some like to mix and match sources. Doesn't really matter as long as the final look is what you are aiming for.

I haven't had a Kino on set in some time oddly. Good for speedy and compact setups, not terribly great for shaping or throw. Not working with many soft sources either. I personally like hard sources that I can carve, focus, and diffuse to preference.

A million lighting tools out there these days. And even more ways to work.

 

[Nick Morrison]

I have a question for the experienced cinematographers on this site. I have come across Shane Hurlbuts page talking about the book light set up. I enjoyed the look he got from his set up, however I am wondering if it isnt easier to just diffuse a kino flo to get a similar soft look? It just seems more complicated to set up a more complex lighting set up to get a look you could use with just diffusing one light.

Generally speaking, the larger the source, the softer the light can be...so a booklight reflecting off a large bounce...will often be softer and less punchy than a kino diffused and up close.

Not saying one is better then the other, but the quality of light could be quite different.

Hope this helps (most of my gaffers love book lights, so I hear A LOT about them!)

 

[Matt Ryan]

If you can, booklight. Booklights are usually more diffused and wrap better around subjects than a diffused kino. Actually haven't used a kino in a while myself. If you like Deakins, he uses a lot of book lights.

 

[Mike P.]

What sources are you guys using for book lights? I don't have Dragon, so I basically just avoid tungsten as much as I can (or 80 filter it, which kinda blows).

 

[Phil Holland]

What sources are you guys using for book lights? I don't have Dragon, so I basically just avoid tungsten as much as I can (or 80 filter it, which kinda blows).

Tungsten, HMI, hard LED fresnels.

 

[Mark Phelan]

You'll find often with many common lighting setups there are several ways to achieve a similar look. What is better? Depends on your shoot, what's on the truck, and time usually. Some DPs stick to certain types of lighting gear even for the general quality of light. Some like to mix and match sources. Doesn't really matter as long as the final look is what you are aiming for.

A million lighting tools out there these days. And even more ways to work.

Back in 2010, David Mullen told me about Bill Wages, ASC, "The guy is the MacGuyver of DP's; he once built a lens out of some paper towel cardboard tubes, blackwrap, and some magnifying glass. He's made his own balloon lights using trash bags, light bulbs, and helium. Totally fearless and has great visual taste."

Phil's comments echo this sentiment. Be fearless, there are many options.