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  1. #11
    Helen B's Avatar
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    "Absolutely everything you can do with hot light can be done with strobe light. I guarantee it!....Charlie"

    Motion blur?

    Anyway, back to the question. Not much I can add to the excellent answers already given. I have some Lighttools soft grids for my softlights, and they are good for giving some directionality to the light that barndoors don't give, but they aren't all that versatile.

    I share Zhenya's views on the advantages of bouncing. This gives a lot of control. The spot size is important, as is the diffusivity of the material. It's a lot cheaper to have a few different sheets of reflective material tacked to a wooden frame than it is to have different sizes of softboxes with different honeycomb grids. Something like Rosco 'Spun Silver' (3830) can reflect light with a controllable degree of directionality - the silver side is only slightly diffuse.

    Equally well you can mix patches of smooth-ish reflector on a background of a more diffuse reflector. Subtle dappling.

    For shoot-through diffusers you can get opal and frost materials that maintain more of the directionality of the original beam than softer materials like spun and Rolux. Letting them hang with some loose folds can add a little unevenness to the light - but keep it subtle.

    And speaking of 'subtle', when imitating sunlight, subtle hints of colour can be useful. Sometimes I have it a little cold (meaning blue in this case) and sometimes a little warm in comparison to the room fill.

    Best,
    Helen

  2. #12
    df cardwell's Avatar
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    After 30 years of replicating windowlight with flashbulbs, strobes, and various forms of hot and cool lights, scrims, dimmers, cookies, gobos, rolux, sears shower curtains and granny's sheers, bits and bobs, gee-gaws and knick knacks, last fall I had the quiet satisfaction of placing an immense window in the north side of the studio I've built.

    With an immense sigh of relief, it seems the best way to simulate windowlight is... with a window. I shoulda done it sooner.
    "One of the painful things about our time is that those who feel certainty are stupid,
    and those with any imagination and understanding are filled with doubt and indecision"

    -Bertrand Russell

  3. #13
    Charles Webb's Avatar
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    "Motion Blur" using strobe fill in outdoor ambient light seems to work very well for many photographers. Don Orintz for instance!


    Correctly stated Helen, "Snapshots" ............. Best, Charlie

  4. #14
    Charles Webb's Avatar
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    Bosaiya,
    Are you familiar with Sylvania's original Sun Gun, and how it was used! Wonder what that long skinny thing trailing behind some Steady Cam operators is? :-) Charlie

  5. #15
    Helen B's Avatar
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    'Wonder what that long skinny thing trailing behind some Steady Cam operators is?'

    Never mind that, I'm wondering what a Steady Cam operator is. Same as a Steadicam operator, or is it just a generic term I haven't heard because I never bother to listen to Producers?

    Thanks,
    Helen

  6. #16
    Charles Webb's Avatar
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    Really can't answer your question, at ILM while filming Star Wars the guys were using Steady cam's or Steadicam's if you wish, with 1000 wt. shallow dish reflectors to shoot R2 and 3P0 for matches into Tatooine footage. A Slepper followed them like a puppy wrangeling power lines. Since most of us can't afford to buy one the spelling is of little importance except for nit picking. And IMHO the "nit picking" has very little to do with the original thread line! So lets drop this BS and get back to the thread! Best.........Charlie

  7. #17
    Bosaiya's Avatar
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    Quote Originally Posted by Charles Webb
    Bosaiya,
    Are you familiar with Sylvania's original Sun Gun, and how it was used! Wonder what that long skinny thing trailing behind some Steady Cam operators is? :-) Charlie
    Yep! In my case it was Totas trailing behind a Glidecam, but the effect was the same: Hysterical.

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