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- #21
Christopher Probst
Well-known member
I rarely mess with space lights... I find them more work than what they are worth. Especially in a situation such as this... I have cars, busses and people supposedly outside. Having a multitude of tiny circular reflections on the cars does NOT look like daylight my friends. Instead, I flew 3 20x30 Ultra Bounces from the Perms giving me a 30x60 overhead sky bounce. I blued up some Arrimaxes from the floor to bang into those bounces and give me the appropriate color contrast compared to the sun source used.
This is all very nice.
Questions for the green screen work, what do you use to light from above.
Since I come from the post side of things, I might missed something but I find it odd that DP's usually use white space lights when lighting green screen studio to simulate outdoor l top light. Especially for commercials where a blue sky usually is the standard.
I usually find the white top light stuff hard to match with the outdoor backplate especially when its people and skin tones.... it usually then looks a bit pale when composited, kind of like they where standing outside in a very soft light / cloudy day or no shadows kind of day.
So when I saw Peter jacksons setup with all space lights in the roof having blue filters underneath I was very pleased. Since I guess thats done to simulate the light from a blue crisp sky. The sky is very much sending down a cold light, just as much as having a huge blue reflector or such. So to me the blue top light seams like a smart move.
Especially since the green chanel, after the key process is pretty much gone. it seams vice not to bleach the blue and red channel of the skin tones. Bosting the blue from above would not only simulate blue sky light it also give more dynamics for the blue and red chanel.
S basically Im just curious how you do it since you seem to have your stuff very much together, blue or white top fill lights was the question
