While we didn’t end up using the boom arm after all, the photos show how easy it is to set up with lights as compact and lightweight as the Nanlite Forzas. For counterweights, we just used a couple of Lacie Rugged RAIDs and two NPF batteries. hehe
We got this arrangement from Bill Holshevnikoff, author of the Arri Lighting Handbook. Since we don’t have Arri lights, we placed a Nanlite Forza 300 fitted with an FL-20G fresnel lens perpendicular to the camera and directed it toward a reflector, which then becomes our key light, creating a soft light with gentle wraparound and… Read More
In the video, we demonstrate one way to create depth and contrast for HDR in a hopelessly cramped living space (16 m2) using lighting modifiers – specifically the Nanlite Projection Mount and Aputure Lantern Softbox – along with the Nanlite Forza 300 and Forza 60. We’ve spared no effort in order to get the most… Read More
We care about color. We’ve white balanced using the X-Rite ColorChecker Passport Video. We’ve calibrated our display with Calman Home for LG. We’ve aligned the color chips on the vectorscope with hue vs. hue. We’ve begun working in DCI-P3. So what’s next? ☺️ Have a look at the white balance in the two RGB parade… Read More
This is only the second video graded using the LG OLED C7. I talk about the lighting arrangement, the digital audio recorder I’ll be using until I can find a decent microphone and the new curtains in my room. 🙂
Here’s a frame grab from the project I’m working on now – shooting models with LED lights. For those who are interested, here are screen grabs of the waveform scopes before and after applying the Leeming LUT at 100%.
In preparation for my upcoming project, shooting models with LED lights, I’ve been testing out my Lishuai 700RSV, a 20-inch edge light, and playing around with the new color controls in FCP X 10.4. I’ve gotten lots of requests to see more footage shot with the Veydras, so I’ll do my best to include those… Read More