Yeah, Rick... thanks for the thoughts.
The blue glass filters I have for my tungstens aren't
very blue, just lightly tinted... maybe not even as much as 1/2 CTB. They give a good color match to the HMIs, but do really drain the output. I haven't put a meter to it, but I'd swear they are sucking up well over a stop.... well over.
1/2 CTO on the HMI is definitely much more forgiving, outputwise. The half-stop loss is probably a good guess... doesn't even look like even that much to my eyeballs.
I frankly don't mind if a back/hair light is out of balance a lot of times... in fact sometimes if it is a tad too warm or a bit too cool it can be an interesting look. Ergo, I think I might indeed try painting a bounced to see what happens.
One of the things that I do sometimes (especially if it is a shoot where we are starved for time and/or gear and/or crew) is use a single 1200w HMI as both a back light
and a key light. I'll put it well behind the talent on a high junior stand and shoot it into a 4x4 in front of the talent as a key. Usually by monkeying around with the instrument focus and barndoors I can get a nice back/side spill onto the talent directly from the instrument, while the bounce is the key. I did that completely by accident one day, and now do it lot. If I were to do that into a painted bounce, we'd get a tungstenish key with a more daylightish backlight. Not right for every setup by any means, but sometimes it might be a cool and appropriate look.
Thanks for the feedback.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
