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Lighting a hair commercial on a set full of mirrors

lighting hair coomercial hair commercial

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#1 Esteban Robles

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Posted 05 August 2015 - 11:31 PM

Hi Guys:

 

 

I have been a DoP for about 2 years and I just got a Hair commercial job. From what I have learned in the industry I know that the shine of the hair is solved with hard lighting depending on the shots and where they want the shine on the hair. 

 

The big problem is I have a set full of mirrors and shiny walls and I would really appreciate it if you could help me solve this. I am attaching the reference they sent me for the bathroom.

 

Thank you!

 

 

 

 

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#2 Stuart Brereton

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Posted 06 August 2015 - 12:28 AM

Hair is generally best lit with large soft sources so that they reflect, which is what gives hair that glossy sheen.


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#3 Adrian Sierkowski

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Posted 06 August 2015 - 11:26 AM

To build a bit off of Stuart here, anything which is reflective (hair, cars, bottles, sunny-side-up-eggs etc.) are best lit by the reflection of a large source in them, and then modified with the reflection of large solids.

Looking at your location; you have a large white ceiling which you can get to "sheen" on the hair-- maybe punch it up with a bunch of hidden kinos in that little lip area-- and when you're in the CUs bang something off of the ceiling. You could also rig kinos up there and take some fabric, for me I'd go with lite-grid; but I like lie grid a lot, or some muslin and stretch it under them as a large broad source. You'll have to tease whatever you do off of the walls, most likely with some cut skirts.

It's not an impossible location; just not super fun with all the reflections.

You should work out what camera angles you'll be doing and draw up some overheads.


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#4 Albion Hockney

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Posted 06 August 2015 - 12:21 PM

Location looks great to me minus dealing with the reflections.....sometimes best locations always have most problems.

 

As everyone said. Big soft sources are the ticket. you need to control them though as without contrast the sheen thing doesn't work so well.

 

Kinos or big soft boxes is where I'd probably go with this

 

of course without knowing your shots its hard to say how to go about it.

 

no magic fix for reflections either you just have to frame around it. and watch your lights.


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#5 Esteban Robles

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Posted 06 August 2015 - 04:48 PM

Thank you guys! 

 

 

To build a bit off of Stuart here, anything which is reflective (hair, cars, bottles, sunny-side-up-eggs etc.) are best lit by the reflection of a large source in them, and then modified with the reflection of large solids.

Looking at your location; you have a large white ceiling which you can get to "sheen" on the hair-- maybe punch it up with a bunch of hidden kinos in that little lip area-- and when you're in the CUs bang something off of the ceiling. You could also rig kinos up there and take some fabric, for me I'd go with lite-grid; but I like lie grid a lot, or some muslin and stretch it under them as a large broad source. You'll have to tease whatever you do off of the walls, most likely with some cut skirts.

It's not an impossible location; just not super fun with all the reflections.

You should work out what camera angles you'll be doing and draw up some overheads.

Thank you man this really is helpfull.

 

I am planning to take the roof off and use an ultra bounce reflecting 3 10K (They just asked me for high speed so I will go for phantom Flex HD) and Use for Fill another 10K bounced on a UB aswell then difuse it with Grid Cloth. Then try tu figure out with 6" Single Flos to take care of the face. 

Does this make sense?


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#6 Adrian Sierkowski

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Posted 06 August 2015 - 09:55 PM

Depends on how fast you go-- personally I don't trust Kinos for high high speed stuff at all and would look into a tungsten source.

Keep in mind, with 40K+ of light as a start how woefully hot it's going to get on set.


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