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From: <[e-mail]>  (ALAN LLOYD )
To: <[e-mail]>
Subject: Re: Blue Screen tips  (SMTP Id#: 52321)
Date: Mon Sep 25 13:51:27 1995
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Dave Warner replied to me with:

> "...any tips you can offer on proper lighting...(snip)...
> ...a much larger (16x24)..."

If you're going to be using 500W halogens, get enough of them.
Your next (important) job is making _dead certain_ they wash the
wall evenly.  If you're using a highly saturated blue (and if
you're not you'll wish you did) then all that's needed is to even
out the light across the wall.  The single easiest way to
accomplish this is with Rosco Tough Silk #104.  It is a diffusion
material with a "grain" to it, running in one dimension.  The
grain fibers spread out the light _across the grain_ so for
side-to-side dispersion orient them vertically.  This will take
care of the "scalloping" that multiple sources can have on a cyc
wall, most irritatingly at the bottom (and thus in frame).

If you're not painting the wall blue, and there really are also
some good arguments against it, go with Rosco Blue Cyc Silk #125,
it will do the same thing as far as dispersion and also add the
color.  WARNING!  Blue eats up lots of footcandles...you'll need
a lot more punch to do it this way!  The main advantage is that
you then have any color BG you want.

Use a couple of 500W units for the backlight.  Cross them at
about a 45 degree angle from the corners, and be careful of lens
flares.  You may wish to flag them off the front as well as the
back, and have them just as "down-lights" on your subject.  As I
noted before, put a pale yellow or orange tint on them.  The blue
wall will reflect lots of blue bounce, and dirty up the edges of
your key.  The "warming" eliminates that.  Pulling your subject
out from the wall helps as well, but you'll see just how much and
how far that blue bounce goes...

Make sure you have flags and things around, keeping light off
where you don't want it is just as vital as getting it where you
do!  A couple of C-stands are essential, and you will always seem
to need just one more heavy-duty extension cord.  Get 100 amps
_just for the studio lighting_ if at all possible, 200 is even
better, but $$$.  Dimmers are much a better bet than switches,
but again, cost is a factor.  You'll find you can do a lot with
ND gels to cut light and they have the added benefit of not
making the noise dimmers sometimes will.

Let me know if you want more...

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Alan Lloyd
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>> All standard disclaimers apply.  Non-standard disclaimers
   available on request.
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