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Getting the Most from Your New ARRI KitARRI Lighting Handbookby Bill Holshevnikoff
Table of ContentsARRI Lighting HandbookFourth Edition Handbook Images & Text 2016 byBill HolshevnikoffHandbook Designed & Produced bySpencer Nilsen (www.illuminastudios.com)and Bill poweroflighting.com)ARRI Inc.617 Route 303, Blauvelt, NY 10913Tel: 1 845 353 1400 Fax: 1 845 425 1250600 North Victory Blvd., Burbank, CA 91502Tel: 1 818 841 7070 Fax: 1 818 848 4028lighting-info@arri.comwww.arri.comProducer - video productionChristian BurtonCover ImageLindsay Elston2Please go to http://www.arri.com/goto/lighting/toolsfor online version of the handbook and morematerials.
Section 1 - Lighting Theories & TechniquesIntroductionChoosing a Light SourceLight QualityHard vs. Soft LightLight Source IntensityA Note on ColorSection 2 - Basic DefinitionsKey LightFill LightSeparation (Hair) LightBackground LightElements of 3-Dimensional ContrastDiffused ValueSpecular Highlight444579101212131415161616ShadowShadow Edge TransferSpecular Edge TransferRule of ThumbSection 3 - New Lighting TechnologiesHMI Technology125 PocketPAR200 & 400 PocketPARsLED TechnologyThe L-Series LED FresnelsSkyPanelSection 4 - Lighting ShowcaseSection 5 - Resources & ContactsSection 6 - Notes1617171718181919202122245054Table of ContentsTable of Contents3
Section 1 - Lighting Theories & TechniquesLighting Theories & TechniquesIntroductionChoosing a Light SourceThere have been dozens of books throughoutthe past decades that have discussed "standard"lighting setups for interviews, talk shows,dramas and countless other productions.This handbook is designed to help you createthe best possible images with your new ARRILighting Kit, using these tools when lightinglocation or studio productions.The original ARRI Kits contained a variety of lighting fixtures.The two basic types of instruments were the open-facedinstrument and the Fresnel-lensed instrument - all tungstenbased lights. Both types of light sources are still availableand provide a focusable, even beam field of light that canbe used to create a wide variety of light qualities and moodsfor your productions.But times have changed and the ARRI Lighting Kit nowoffers a full line of LED fixtures that include Fresnels andsoft lights, both of which can produce an enormousrange of color.ARRILITE Open-Face4ARRI L7-C LED Fresnel
Light quality can be characterized by how “hard”or “soft” the shadow produced by an instrumentappears. The quality of light produced by aninstrument is determined by the physical size (notthe intensity) of the light source. In general, thelarger, more diffused the light source, the softerthe light quality. Typically, a diffusion material, suchas frost or silk, might be placed in front of a lightinginstrument to increase the working (physical) sizeof a light source.ARRILITE with FrostWhen light transmits through diffusion material,the illuminated diffusion material then becomes theacting light source. A sharp, well-defined shadowedge (hard light), like that created by the sun, ismost often produced by a small light source, suchas one of the instruments contained in this kit.A softer, less defined shadow edge (soft light)Section 1 - Lighting Theories & TechniquesLight QualityARRILITE withChimera Lightbank5
Section 1 - Lighting Theories & Techniques6Light Quality continuedlike that created by a cloudy day, is produced bya larger, more diffused light source, such as aLightbank (available with some ARRI Kits). If you donot have a Lightbank, there are many other waysto create softer light qualities with the instrumentscontained in this kit. Attaching frost to the barndoorswill soften the light quality slightly. Placing a largediffusion panel (silk) in front of the source, orbouncing the light off of a white wall, ceiling orwhite card, will produce a dramatically softer lightquality. Again, the physical size of the light sourceis directly related to the quality of light produced.So, ideally, one should consider the appropriatelight quality for a shot or scene prior to setting upthe lighting. For example, hard light may not beconsidered a natural light quality for many interiorscenes (such as an office with four white walls andoverhead fluorescent lighting).Hard LightSoft Light
There is no rule as to when to use hard or soft light.Creating a particular light quality is subjective andthere is no correct or incorrect method. There are,however, characteristics that are inherent to bothhard and soft light, and one must constantly weighthe pros and cons of each prior to lighting a scene.In general, hard light is easily controlled throughthe use of barndoors on the fixture, and it can beused to produce dramatic shadows and attractivelighting effects for film or video. When lightingpeople for interviews with hard light, one mustcarefully consider the placement of the lightsource in order to produce appealing resultson camera. An ill-placed Fresnel or open-facedinstrument can produce unkind results on eventhe most photogenic persons.ARRI Fresnel-lensed lights produce an extremelyeven field of light, and are the most popularinstrument choice when hard lighting is requiredfor studio and location work.While ARRILITES also produce an even beam field,these instruments generally are not used to lightpeople directly. The ARRILITE instrument is mostoften used to create a fill light source, by bouncinglight off of walls, ceilings or bounce boards (onlocation); to use with diffusion frost or behind aLightbank; or to light background areas.Section 1 - Lighting Theories & TechniquesHard vs. Soft LightARRILITE bouncing off of Foam Core Board7
Section 1 - Lighting Theories & Techniques8Hard vs. Soft Light continuedWhen used as a direct source (no diffusion), theglass lens on a Fresnel instrument produces amore pleasing quality of light than an open-facedinstrument.The use of softer light sources can be more forgivingwhen lighting people, but softer, diffused sourcescan be much more difficult to control. Diffusedlight disperses in many directions, and although thelight quality may be desirable for a particular shotor scene, the uncontrolled spill light from a diffusedsource can ruin even the best of shots. Much oflighting has to do with directing the viewer’s eyearound the frame, and when spill light from yourmain light sources contaminates the background ofyour shot, the lighting can appear haphazard andlose visual impact. Once again, careful considerationof your light placement will dramatically improvethe results.When working with a Lightbank, control of thediffused light can be achieved with a product calleda Soft Egg Crate (by LightTools and DoPChoice).This product is a collapsible fabric egg crate thatcan be quickly attached to the front of a Lightbank.The use of an egg crate on a Lightbank providesthe user with instant control of spill light with littlelight loss.Soft Egg Crateon Lightbank
The intensity of the light source you choose fora shot is an important decision. Brighter is notnecessarily better. Depth-of-Field (f-stop depthof focus) and f-stop selection with your camerashould be a conscious decision each time youbegin lighting a shot.Many of the newest digital cameras are extremelylight sensitive. Lighting a scene with too much lightforces you to close down the iris to a deeper f-stop(f8 – f11) to properly expose the scene. This createsa very deep focus range (depth of field) in your shot.Using smaller lighting instruments and less lightallows you to expose your scene at an iris settingof perhaps f2.0 or f2.8. Shooting with an open iris(aperture) creates a shallower depth-of-field andallows you to utilize selective focus as a creativetool in image-making.Additionally, you can down-lamp your ARRItungsten instruments to use lower wattage bulbs.For example, the ARRI 650 Fresnel also can use a500W or 300W lamp. This provides you with thewider beam field of the larger Fresnel while stillworking with lower light output. When workingwith ARRI LED instruments, the option of dimmingthe instrument is a simple and effective way towork at much lower light levels. Shooting at lowerlight levels with the newer cameras allows the useof instruments as small as a 150W ARRI Fresnel.Used in conjunction with proper lighting techniques,shooting with a shallow depth-of-field can enableyou to create more of a film look when shootingwith your digital camera.Section 1 - Lighting Theories & TechniquesLight Source Intensity9
Section 1 - Lighting Theories & Techniques10A Note on ColorThe color of the tungsten lighting fixtures in yourARRI Kit is rated at 3,200 degrees on the Kelvintemperature scale. Although the light from theseinstruments may appear as white light on video orfilm, it is actually a very warm-colored light relativeto the color of daylight. Choosing a tungsten filmstock or setting your digital camera for tungsten(3,200K) will give you proper color rendering whenlighting with these tungsten lighting fixtures. Becareful when white balancing your camera thatyou are balancing your camera for the light in yoursubject area. Proper white balance will ensureaccurate skin tones in your video productions.Sometimes you may be shooting in an area withexisting ambient light and the color of that ambientlight may differ dramatically from the color of lightgenerated by the tungsten lighting instrumentsin your ARRI Kit. The color of fluorescent light inoffice areas, commercial light in retail or industrialsettings and ambient daylight all differ greatly fromthe color of light created by your tungsten lights.In these cases, it may be necessary to color correctyour lighting instruments to match the color of theambient light in your scene.Your ARRI lights can be color corrected through theuse of color correction gels which can be attacheddirectly to the barndoors of your instruments. Justbe aware of the fact that using gels on your lights
Additionally, you might consider supplementingyour lighting package with additional ARRI lightinginstruments designed specifically for productionuse in daylight settings. ARRI HMI (daylightbalanced) instruments are used daily in motionpicture and video production work around theworld. See your local ARRI equipment dealer orvisit the ARRI website for more information.www.arri.comSection 1 - Lighting Theories & Techniquescan greatly reduce the output of light (i.e. full CTB/daylight correction gel can reduce output by asmuch as 85%). Also, gels can burn when set tooclose to the lamp or lens on your lights. Careful useof correction gels can help you to manipulate andmatch the color of the existing light in your scene.The use of ARRI LED lighting instruments can makethe process of color correcting much easier. ARRI'sL-Series and SkyPanel instruments are color tunablefrom 2,800 - 10,000 degrees Kelvin, providing youwith complete control of your color temperatures forany scene.11
Section 2 - Basic Definitions12Basic DefinitionsThe Four Primary Light Sources: Key, Fill, Separation & BackgroundIn this section, the “lighting evolution” of imagesshows the single effect of each of these four lightsources in a talking head shot.Key LightThe key light is the primary light source for thesubject area of the image. The key light is the mainsource of illumination and often establishes a lightquality, whether hard or soft, for the shot or scene.When lighting people for on-camera interviews, theobject of the key light is to illuminate the person inan attractive manner and reveal the shape of theperson’s face through shadow form (modeling). AnARRI Fresnel is often the choice for a key light sourcedue to the ease of use and light control. Lightbanksalso are a popular key light source for interviews.Key Light onlyPosition of the key light can range from directly abovethe camera lens to completely behind the subject,depending upon the desired results. Seeing theeffects of the key light shadows on the subject’s facewill help you determine the best height and locationfor this light. When lighting for multiple cameras, it isusually best to place the key lights for optimal results
Key & Fill Lighton the close-up camera positions for each subject.Regardless of the quality of light you choose, the lightfrom the key source should be confined to the subjectarea if you hope to achieve a dramatic lighting effectfor the image. If a less dramatic effect is desired,the spill light from the key source can be allowed toilluminate the background area as well.Section 2 - Basic DefinitionsFill LightFill LightThe fill light is an additional light source designed tofill in the shadow areas created by the key source.Ideally, the fill light source is a larger, diffused soft lightsource that will fill in the shadow area to the desireddensity (light level) without producing a second,opposing shadow on the subject(s). Think of your filllighting as ambient light for the shot or scene, and asyour visual mood indicator. The less fill light, the moredramatic the lighting. Regardless of whether your keysource is hard or soft light, using a hard light sourcefor a fill light can create an unnatural double-shadoweffect on the subjects. Use of a large silk, a Lightbank,dense white diffusion material on the barndoors, orbouncing the light off of a white surface (wall, bounceboard, etc.) can produce a natural and effective fill13
Section 2 - Basic DefinitionsThe Four Primary Light Sources: Key, Fill, Separation & Background continuedlight source. When shooting only a close-up of asingle person, often the spill light from your keysource can be directed at a large, white bouncecard for a soft, shadowless fill light (see examples).The position of the fill light can vary greatly, butnormally fill light sources are set either near thecamera lens or at a position opposite the key lightsource.Key, Fill & Hair LightsSeparation Light (Hair Light)The separation light, or hair light, is designed tohelp visually separate the subject(s) from thebackground. A separation light is not alwaysnecessary, but without the use of this light, it ispossible that the subject could blend with thebackground. Use of a separation light also helpsto bring out color and texture in the subject’s hair.Brightness of the separation light can equal thebrightness of the key light source, but the intensity14Hair Lightand placement should be determined by the colorand texture of the subject's hair and the placementof any practical sources (windows, lamps, etc.) inthe scene. Position of this source can range fromdirectly behind and above the subject to just outsideof the frame line to create a side rim-light. As istrue with almost all light placements, the effect ofthe separation light is dramatically altered by itsposition. Experiment with different light qualitiesand placements to find your own favorite look.
Key, Fill, Hair & Background LightsSection 2 - Basic DefinitionsBackgroundLightDirection of the background light also can help tosupport key light direction and motivation (i.e. lightfrom a window, etc.). Both Fresnels, ARRILITESand any of the LED fixtures can be used effectivelyto light background areas.Background LightThe background light can be the first or final lightto be set for a scene or shot, depending upon theimportance of the background lighting in the sceneand your lighting style. If careful consideration hasbeen given to the control of spill light in the subjectarea, the effect of your background light can bequite dramatic. The addition of a background lightalso can help to add texture, color and/or addedseparation for the subject(s) from the background.15
Section 2 - Basic Definitions16Elements of 3-Dimensional ContrastArtists of all types are constantly working to createa 3-dimensional image on a 2-dimensional plane(motion picture screen, television screen, paper, etc.).The following information will help you betteridentify and manipulate the separate componentsof reflected light.Diffused ValueThe true tone or natural brightness of an object.Accurate reproduction of the diffused value oftendetermines a proper exposure. The diffused is aconstant, objective value, while the shadow andspecular are variable and subjective.Theory of 3-Dimensional ContrastThe theory states that a single light source directedat a single object of a single density normally willproduce three separate densities: the diffused value,the specular highlight and the shadow. The presenceof these three densities can reveal shape, form,texture, density and depth.Specular HighlightThe mirrored image of a light source on an object.The specular highlight is always brighter than thetrue tone of the object. A properly placed specularhighlight will reveal shape and texture on an object.ShadowThe area on a 3-D object that receives no illuminationfrom the primary light source. The shadow is alwayslower in brightness than the true tone of the object.A properly placed shadow will reveal shape and formon an object.
Specular Edge TransferThe area of transition between the diffused valueand the specular highlight. The specular edgetransfer usually defines the surface texture of anobject. The smoother the surface, the harder theedge transfer.Diffused Specular Specular EdgeValue Highlight TransferShadowSection 2 - Basic DefinitionsShadow Edge TransferThe area of transition between the diffused valueand the shadow. It is the primary indicator todetermine the quality of light produced, i.e. hardor soft light.Shadow Edge TransferRule of ThumbThe larger the light source, the softer the lightquality.17
Section 3 - New Lighting Technologies18New Lighting TechnologiesLighting instruments for the majority of film andtelevision productions have remained basically thesame for many years. Fresnel-lensed lights andopen-faced instruments have been the backbone ofthe craft since its inception. Studio soft lights werealso an important addition to the lighting industry.Over the past 30 years, HMI lights and fluorescentinstruments have made their impact on filmmakingand television, and have changed the ways of ourbusiness. Most recently, LED fixtures are providinganother new lighting tool for the image makingprofessional. The latest technologies used inlighting instrument design also have allowed forthe development of some new tools -- high-output,compact HMI and LED instruments from ARRILighting. These new lighting fixtures are creatingyet another new chapter in ARRI’s legacy in thefilm industry.This section is designed to help you to betterunderstand HMI and LED technology and theARRI Lighting fixtures available for you andyour production needs.HMI TechnologyThe HMI lamp uses mercury vapor mixed with metalhalides in a quartz-glass envelope, with two tungstencoated electrodes of medium arc separation. The lightfrom an HMI source approximates the look and colorof raw sunlight. Unlike traditional tungsten lightinginstruments using incandescent bulbs, HMIs useballasts to regulate the electrical supply to the lamphead, and power is fed via a head-feeder cable. ARRILighting’s HMI lights are high-output sources thatproduce a daylight spectrum with a color temperatureof approximately 5600 degrees Kelvin, and currentlythe instruments range from 125 watts to 18,000 watts.
125 PocketPARARRI’s smallest, most compact HMI, the 125-wattPocketPAR is ideal for close-ups or set-ups wherespace is limited. The 125 PocketPAR offers superbpunch and is invaluable for both direct lighting andfor use as an indirect light source. A wide varietyof accessories are available for innumerable lightingdesign applications.ARRI 125 PocketPARARRI 200 PocketPAR200 & 400 PocketPARThe low-heat 200- and 400-watt PocketPARs areperfect for small spaces, close-up work or moredifficult confined set-ups. Both fixtures offer superbpunch and are invaluable for direct lighting in daylightenvironments, can be used with a Chimera Lightbankor Lanterns, or used as bounced fill light. ARRI’scustom-designed dichroic, glass facetted reflectorand matching spread lenses ensure maximumbeam control in all situations. A wide variety ofaccessories are available for innumerable lightingdesign applications.Section 3 - New Lighting TechnologiesThis section of the booklet will explain the line ofcompact ARRI HMI PocketPARs and the kitsavailable for use on-location or in the studioARRI 400 PocketPAR19
Section 3 - New Lighting Technologies20New Lighting Technologies continuedLED TechnologyThere are many advantages to using LEDs overincandescent light sources, including lower energyconsumption, longer lifetime, smaller size and greaterdurability and reliability. However, they require preciseheat management and the color rendering index (CRI)must be considered in fixtures used in production.ARRI’s LED Caster Series are high output, low heat,low power consumption lighting units with a tuneablewhite light source. The special optical design providessingle shadow rendering and adjustments over arange of color temperatures. The ARRI Caster Seriesoffers a Color Rendering Index (CRI) of 90, ensuringmore vivid and lifelike colors on digital and film media.There are two versions in the LED Caster Series, theLoCaster and the BroadCaster. Each LED instrumentoffers high output, yet very low power consumptionwhile in a housing that only weighs 2lbs. Both unitsutilize the same optical principles and the samehousing, yet consume only 35W of power. On theLoCaster, power, dimming and the color temperaturemay be manually adjusted with onboard controllers.This unit is adjustable in color temperature from 2800Kelvin to 6500 Kelvin. The LoCaster or BroadCastercan be powered by the use of several AC PowerSupply options or any DC source from 11-36V (2036V for optimal performance). The advantage of theBroadCaster is that multiple units can be assignedfor remote control via a DMX protocol and console.The optional intensifier is a valuable accessory whichdoubles the light output while creating a tighter beamARRI LoCaster
ARRI Hybrid KitThe L-Series LED FresnelsThe ARRI L-Series is an LED Fresnel fixture so closeto its conventional counterpart in function andperformance that it creates a previously unattainableopportunity: like-for-like replacement of traditionalFresnels with LED-based units.At the heart of the L-Series are a few core concepts:tuneability, color fidelity, high build quality and easeof use. Three simple knobs permit the brightness,color temperature and green/magenta point to befine-tuned, while a focus knob on the side of eachfixture allows for smooth adjustment of the beamspread, just like conventional sources.The L-Series is the first LED fixture to truly incorporatethe Fresnel characteristics of continuous focusabilityfrom spot to flood and a smooth, homogenousSection 3 - New Lighting Technologiesof light (to 33 ). Both the LoCaster and BroadCastermay be orientated in either horizontal or verticalmode. Also available are ‘Hybrid’ kits in variousconfigurations which combine the LoCaster LEDfixtures with our proven small tungsten Fresnels.ARRI L5 LED21
Section 3 - New Lighting TechnologiesNew Lighting Technologies continuedlight field. The L-Series takes full advantage of LEDtechnology and allows for complete control over thecolor and intensity of light. Light emitted from theL7 is specifically calibrated for optimal reproductionon broadcast and digital cinema cameras, ensuringpleasing skin tones and vividly rendered colors.Constructed to be robust and ergonomic, the L7meets the quality and design standard for whichARRI is known. Encompassing multiple powerclasses, the L-Series offers solutions for almost anyapplication, from large television studios to smallARRI L7 LED22interview setups and everything in-between. The L5,L7 and L10 lampheads, which respectively feature5”, 7” and 10” Fresnel-like lenses, are available intuneable tungsten, tuneable daylight or fully colorcontrollable versions.The SkyPanelThe new ARRI SkyPanel is an exceptionally versatileLED soft light – compact, fully tuneable and deliveringlight of unsurpassed power and quality. Becausedifferent application areas call for different lightingneeds, SkyPanel has been designed as a series offixtures. The S60 is the mid-range model and the S30is the smaller, more portable version available in ARRILED kits. SkyPanel ‘C’ (Color) versions have the abilityto adjust the correlated color temperature anywherebetween 2,800K and 10,000K, with excellent colorrendition over the entire range. Full plus and minusgreen correction can be achieved with the simple
ARRI SkyPanel S30-CSection 3 - New Lighting Technologiesturn of a knob, and in addition to CCT control,vivid color selection and saturation adjustment isalso possible. The shadows are soft in nature anddo not exhibit multiple edges or strange colors,making SkyPanel one of the best LED soft lights forshadow rendition on the market. The SkyPanel userinterface is designed to be incredibly easy to use,but also to make a wide range of controls availableto the user, all at the same time. With three simpleknobs, the color temperature, green/magenta point,intensity, hue and saturation can be adjusted instantly.People who have never used the light before find theinterface effective and intuitive. In addition to the onboard controls, all functions can be remotely adjustedvia DMX or LAN network connections.ARRI SkyPanel S60-C23
24Section 4 - Lighting ShowcaseLighting Showcase
The tools in an ARRILighting Kit can providefor so many differentpossibilities. This image ofLindsay uses a mix of softand hard light to create agreat look for commercialor corporate productions.Section 4 - Lighting ShowcaseThe following images and diagrams provide you with basic lighting setups thatyou can achieve with your ARRI Lighting Kit for a variety of studio and locationproductions.Technical Data:1 - ARRI 650 watt Fresnel1 - 750 watt Open Face1 - Chimera LightBank2 - ARRI 300 watt Fresnels1 - White Bounce Card25
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Section 4 - Lighting ShowcaseThis dramatic interview setup with Leo was accomplished with only 2 lights and the use of a DoPChoice SnapGrid on the SkyPanel S30-C to control the spilllight from the white walls in the background.Technical Data:1 - ARRI SkyPanel S30-C1 - ARRI 300 watt Fresnel1 - White Bounce Card1 - DoPChoice SnapGrid27
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Section 4 - Lighting ShowcaseWorking in available light can offer some beautiful opportunities, but often the subjectneeds a touch of light for their face and eyes. This image of Carie works well with theuse of two ARRI LoCasters side-by-side as a daylight-balanced fill light source.Technical Data:2 - ARRI LoCasters29
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Section 4 - Lighting ShowcaseThis cozy "moonlit" image was created in-studio with an all-LED setup. A SkyPanelS30-C and an L5 provide the moonlight effects on the set, while 2 LoCasters set atdifferent color temperatures illuminate Ali with a convincing evening glow.Technical Data:2 - ARRI LoCasters1 - ARRI SkyPanel S30-C1 - ARRI L5 LED1 - White Bounce Card31
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Section 4 - Lighting ShowcaseReality shows and interviews can be done in so many ways. This image ofJamar shows how to use hard light effectively - even with darker skin tones.Technical Data:1 - ARRI 300W Fresnel1 - ARRI150W Fresnel1 - ARRI L5 LED33
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Section 4 - Lighting ShowcaseThe high-key interview look with a white background is very popular today. This simplesetup uses the soft light from a Chimera Lightbank, an LED kicker on Christian's cheek,and a 300W tungsten Fresnel on the background for a clean, effective interview look.Technical Data:1 - ARRI 300W Fresnel1 - ARRI LoCaster1 - 750W ARRILITE1 - Chimera Lightbank35
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Section 4 - Lighting ShowcaseLighting faces is a craft that requires an attention to detail for each person youlight. This setup uses the L5 LED Fresnel, but the light is bounced off of a whitecard for a soft, natural-looking key light on the subject.Technical Data:1 - ARRI L5 LED Fresnel2 - ARRI LoCasters1 - White Bounce Card37
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Section 4 - Lighting ShowcaseMusic videos and commercial productions can demand high production valuesexecuted quickly. This simple 2-light setup with Jamar displays how to use theamazing range of color from the SkyPanel S30-C to dial-in your look.Technical Data:1 - ARRI LoCasters1 - ARRI SkyPanel S30-C39
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Section 4 - Lighting ShowcaseLocations like corporate offices can be uninteresting if you use the availablelighting. This image of Ali utilizes both LED and tungsten lighting for a dramaticinterview look.Technical Data:1 - ARRI 650W Fresnel1 - ARRI 300W Fresnel1 - ARRI SkyPanel S30-C1 - White Bounce Card41
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Section 4 - Lighting ShowcaseHighly reflective and black products can be a difficult lighting challenge. Thisimage shows how the use of the Chimera Lightbank and a white bounce cardcan help you to create stunning product shots.Technical Data:1 - 750W ARRILITE1 - ARRI 300W Fresnel1 - Chimera Lightbank1 - White Bounce Card43
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Section 4 - Lighting ShowcaseLighting subjects who are wearing hats with brims can be challenging. The useof a large, soft source allows you to work with almost any type of hat and stillcreate a great look. This image of Christian was created with only 2 lights.Technical Data:1 - 750W ARRILITE1 - ARRI 300W Fresnel1 - Chimera Lightbank45
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Section 4 - Lighting ShowcaseARRI's LED instruments allow you to create with color. This image of Magaliefeels like an evening interview in a home, but it was actually created on astudio set.Technical Data:1 - ARRI L5 LED1 - ARRI LoCaste
Section 1 - Lighting Theories & Techniques Lighting Theories & Techniques There have been dozens of books throughout the past decades that have discussed "standard" lighting setups for interviews, talk shows, dramas and countless other productions. This handbook is designed to he
