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Lighting hair for Shampoo spot ...


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#1 Charlie Wuppermann

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Posted 11 April 2008 - 11:29 AM

Hey there,

i am researching the best way to light hair since I am shooting a couple of shots for a shampoo spot and have never quite been happy with my results before. I have quite a few ideas but am just wondering if anyone has any secrets and tips he would like to share?
It is a HD shoot with the Sony F900 and DigiPrimes, in a studio with a lot of white surfaces around. So far I am planning to use a lot of big soft sources, even very soft backlights and am planning to use a lot of the "reflective" quality of the hair. One of the models has brown and the other one red hair.
Any tips and ideas are much appreciated since I would love to experiment :)

Thanks a lot!

Charlie
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#2 Xavier Plaza

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Posted 11 April 2008 - 12:33 PM

Hey there,

i am researching the best way to light hair since I am shooting a couple of shots for a shampoo spot and have never quite been happy with my results before. I have quite a few ideas but am just wondering if anyone has any secrets and tips he would like to share?
It is a HD shoot with the Sony F900 and DigiPrimes, in a studio with a lot of white surfaces around. So far I am planning to use a lot of big soft sources, even very soft backlights and am planning to use a lot of the "reflective" quality of the hair. One of the models has brown and the other one red hair.
Any tips and ideas are much appreciated since I would love to experiment :)

Thanks a lot!

Charlie



There's an article at the ADF magazine take a look on page 42 it's in spanish... but you can find two diagrams. The history about this diagrams is some agency in miami who constantly make hair spots gave to the DP Rogelio Chomnalez. The agency believe this diagrams is the best set up they could find... That's the history..., low res picts, but you can understand the idea...

http://www.adfcine.c...istas/ADF20.pdf


Xavier Plaza
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#3 Michael Nash

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Posted 11 April 2008 - 02:35 PM

We've discussed "shampoo commercial" lighting before, so try a search.

Lighting is always shot-dependent, not purely subject dependent, so without knowing the shots it's hard to say exactly what you need. But the basic idea is you're lighting a reflective surface, just like a car. Big, soft sources broken up with big black areas give you visible difference in your reflection. You may want to use more frontal lighting for some shots if that's the angle that will give you the reflection.

screenshot.jpeg

I just youtubed "shampoo commercial" and came up with this:

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#4 Charlie Wuppermann

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Posted 13 April 2008 - 06:07 PM

Thanks guys. Much appreciated!
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#5 Walter Graff

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Posted 13 April 2008 - 06:10 PM

Geoff Boyle has an article or two on the subject in the CML archives.
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#6 Adam Frisch FSF

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Posted 15 April 2008 - 05:46 PM

Frontlight! That's all there is to it, really.
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#7 Laura Castro

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Posted 09 December 2010 - 10:11 AM

Has any one heard about something Called "Breezy light", it something my director is asking me for and i can't seem to find it anywhere.
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#8 Stuart Brereton

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Posted 09 December 2010 - 11:38 AM

It's a Briese Light. Large soft sources with a lot of punch.

http://www.solalight...t-contin/briese
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#9 Ari Schaeffer

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Posted 15 December 2010 - 05:25 PM

Has any one heard about something Called "Breezy light", it something my director is asking me for and i can't seem to find it anywhere.



It's got a nice look to it, sort of a harder soft light, less of a wrap, if that makes sense. It's also insanely expensive, and not as trendy here (east coast) as LA, or so I'm told. It's also a studio light for sure, as I got the pleasure of lugging the thing (looks like a giant umbrella light/octo box) on a roller stand with genny in tow on the streets of Manhattan. You can only imagine what the globe looked when we peeled the diff layering off the face and saw every moth in nyc had flown in there.

I liked the results it gave us, but it wasn't anything that only the most spoiled DP would complain about if you swapped it with a large unit and some silk/diff frames + floppies. We'd throw it up on a boom, use it as a 3/4 frontal key slightly elevated (think 45 degree), and then kick or edge with some lekos up on the grid/out of frame. I'd imagine the amount of spill it'll throw in a all white shower would be a nightmare. If you're going to go that high key with it, there's better cheaper soft sources, with smaller footprints that can be placed and controlled closer to the subject. We used it in a photography studio for a fashion line promo, so it worked out nicely since no one gave a poop about spill on the white cyc behind them, and we were too busy blasting lekos at the streak filter in camera anyway.

In conclusion, pretty light if you've got space and money. But if you have that, you've got more options for the same quality of light anyway. As some one who is forced to shoot available/no budget/1 or 2 lights often in small interiors in NYC, it's not something I request often. When we shot with it (august/10) you could only get it at one house in the entire city. I hear it's available at a second house now...so maybe it'll start to see more use on my coast.
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