sweet lighting rig

[Patrick Tresch]

some other shots

Pat

 

[Zakaree Sandberg]

its a very natural light. i like it.. how much is the system?

 

[Stronz Vanderploeg]

Here some shots.

The installation needs space but not too much. You can throw the light very close to the sealing and catch it with the reflectors where ever you send the beam.
)

What kind of reflectors are being used?

 

[Steve Das]

What kind of reflectors are being used?

Yes..is there something special about these reflectors that give you
more control than what one would normally have w/ regular shiny boards ?

 

[Patrick Tresch]

Yes..is there something special about these reflectors that give you
more control than what one would normally have w/ regular shiny boards ?

Yes absolutly. I've even used somtimes the reflector without the RLS projector but rebouncing light from another source. They are extremely light efficient and you can rebounce the light in ways i've never seen before.

I would compare it to what can be achived with a frost diffuser VS to a brush lee silk. You can shape your diffusion like a painter would use a different pincel.

I've mainly used the soft diffuser because the movie I was doing needed it.


Yellow and Red color tags (you can see it on the trench of the reflector) where my favourite.

HARD CIRCULAR (Black)
MEDIUM CIRCULAR (Blue)
SOFT CIRCULAR (Red)
HARD LINEAR (White)
COMB LINEAR (Green)
COMB ROUND (Yellow)
MILL SCALE FINE (Gray)

Patrick

 

[David Battistella]

The more I see this, the more I like it. To me, it is the most interesting way to achieve a natural look.

It takes a single source and forces you to manipulate it. The sun works the exact same way and reflecting the single source is a really cool way to approach lighting any scene.

David

 

[Kalani Prince]

I love this. ONE beast of a light + pure artistic interpretation + actors get to roam : ) Where can this stuff be purchased?

 

[Benjamin Rowland]

Price?

 

[Adam C Lubkin]

Great interview with Berger:

http://motion.kodak.com/US/en/motion/Publications/On_Film_Interviews/berger.htm

 

[paul engstrom]

My understanding is:
- Not available for purchase yet.
- Berger doesn't just use the lights - he's also part of the team making them.
- The light and the reflectors are both essential and specifically designed for each other.
- The light is NOT very big -- is not a beast. I think its a 1.2k. But it is extremely efficient and an extremely tight beam, so a LOT of lumens/foot candles.

Regards,
P

 

[Adam C Lubkin]

An older thread on this:

http://www.reduser.net/forum/showthread.php?t=46211

And another interview:

http://blogs.wsj.com/speakeasy/2010/01/12/cinematographer-christian-berger-on-the-white-ribbon/

You created a new lighting system called the Cine Reflect Lighting System (CRLS) several years ago, which you used on “The White Ribbon.” How would you explain how it works to a layman?

It’s a kind of imitator for the natural behavior of light. I was really fed up, at the end of the 1990s, with the uniform quality of what was available. I tried to find a new thing. The first film I partially shot with the system was [2001's] “The Piano Teacher,” with Isabelle Hubbert. At the beginning, she was very suspicious because she felt as if there was no effort going on, asking, “Am I not important enough [for a lot of equipment]?” Of course, she wanted to look good even if the film looked harsh, and I asked her if she only wanted to look like a publicity photo, with soft lighting, or did she want to look realistic, with the correct lighting. I convinced her.

 

[Stronz Vanderploeg]

Yes absolutly. I've even used somtimes the reflector without the RLS projector but rebouncing light from another source. They are extremely light efficient and you can rebounce the light in ways i've never seen before.

I would compare it to what can be achived with a frost diffuser VS to a brush lee silk. You can shape your diffusion like a painter would use a different pincel.

I've mainly used the soft diffuser because the movie I was doing needed it.

So the reflectors are specifically designed for this project? Are there similar alternatives that aren't quite as efficient at bouncing the light but would still get the job done?

 

[Patrick Tresch]

So the reflectors are specifically designed for this project? Are there similar alternatives that aren't quite as efficient at bouncing the light but would still get the job done?

No the reflectors where not designed for this specific job. I suppose you could use other rebounce material but the disign of these reflectors are very light efficient and the quality of the light is very interesting.

I've seen in the industry nearly the same type of reflectors/beam that are used to light train station hall and alike.

Patrick

 

[Bernhard Hoefert]

Hi All,

I 've been pointed to that thread and very happily jump in !
Should one of you guys have questions or need additional details about the system, just send me an email (bhoefert@pani.com) and I will answer to my best extend.
I am working with the company producing the fixture, the reflectors and the grips and take care of all incoming inquiries.

As an appetizer, here is the weblink : www.cine-rls.com (I hope I did not overread it somewhere else earlier)
We are currently post producing and translating a demo and teaching DVD, so if you want to receive it, please send me your details by email.

Bernhard

 

[Ketch Rossi]

Welcome to Reduser Bernhard

I have been recommended to the web page you provided some time ago, and since gained interested and look for to receive more info on it, as well as availability and pricing info, thanks.

I for one think this is a fantastic concept, as I have been shooting my entire life via reflection of light instead of direct light illumination of all my subjects, I prefer so much better reflected light and or always filtered light instead of direct Hard Light, even so at times the Hard light is needed to created a specific Hot Spot, and or simply have a strong trow of light on to a specific area.

 

[Benjamin Rowland]

I wonder if you could build something similar with a Molebeam projector light and a variety of reflective material?

 

[Rob Ruffo]

My real ick with this is that if you move thr camera a lot and/or the talent moves a lot you have many different beams to worry about crossing, whereas usually you have just one, or maybe two if you are bouncing off a card.

I also find the light while maybe looking more like "reality" in the end looks more noticeable, as audiences are used to seeing a certain kind of film lighting, and now have a notion in their minds of "film reality". I also worry about how hard that light looks. Not exactly glam, but maybe that's just me.

 

[Andrew Wilding]

Im not even sure that this rig looks more like "Reality". I find that in real life, in daylight, rooms tend to be filled with a soft light coming from the direction of whatever windows are present. Sometimes, in the morning and afternoon, or midday with skylights, you also have harder, brighter light that is a result of direct sunlight coming in through the windows, in addition to the soft ambient light that is coming through them. This tends to look like soft overall light, with certain sections much harder, a little warmer, and a lot brighter. In other words, soft lighting, for daylight interiors, seems to me most realistic. These little reflectors are too hard to use as your only sources. And they are possibly too soft to use as your harder sunlight. Maybe Im wrong. And, having just watched part of the white ribbon, Ive seen this system do amazing work. Or rather, C. Berger do amazing work. Which he could do with any system. I always like the simplest, most practical solutions. Im just not convinced this is it. For me anyway.