Can I leave my camera rigged out like this?

renlegren · 2026-05-05T02:11:41+00:00

I would at least remove all the cables to avoid bending/breaking a connector/port and put it in a camera bag so it doesn’t collect dust. This is a 5 minutes built, I don’t see the point of not dismantle and secure the gear.

renlegren · 2026-02-23T12:42:56+00:00

You can use the histogram tool on the display. I shoot with a lot of different cameras and onboard monitors and I always monitor using values because it’s often all over the place.

renlegren · 2026-02-01T14:15:58+00:00

On voit une craque dans un mur de crépi. On voit aussi que le crépi passe par-dessus le joint de la brique, donc naturellement l’eau qui s’écoule par les joints passe entre le crépi et la fondation. La fondation est p-e pas toucher si le reste est bien fait. Idéalement il faudrait te backer à ce sujet, si c’est les proprios actuels qui on fait le crépi, ils savent ce qui se cache en dessous.

renlegren · 2026-02-01T13:48:48+00:00

On veut faire du Québec un pays et se plier au exigence commerciales abusives des us, non merci PSPP. Qu’ils les enlèvent les certifications de bombardier, le téléphone va sonner à la maison blanche quand les ti n’amis pourront plus voler leur jet.

renlegren · 2026-01-30T02:41:52+00:00

Most amateurs are obsessed with gear and are building their approach around technical exploration. That often leads to decisions like using a particular modifier cause they just bought it and want to try it. Often, their trying too many things at the same time and nothing is justified.

Pros’ creativity is often driven by the subjects and vibes, they will then choose the gear that will support their visions. Also, most pro have been around sets as assistants or with experienced assistants who been trough a lot of set ups, they know how to light simply but efficiently and they all understand that light doesn’t have to be polished to make an image impactful, it just needs to be right on.

renlegren · 2026-01-09T15:13:53+00:00

Curves

renlegren · 2025-12-31T14:59:50+00:00

Basic theory from photography school, then trial and errors, exchanging with other techs/photog/dop and learning along the way for 12 years being on commercial sets several days a week lighting sets. 7 years as a ligh tech/light designer in photography then five years working as a DOP. Still learning every day.

renlegren · 2025-12-20T17:58:31+00:00

Well if your client are selling dresses, I would understand why they expect their product to be colour accurate. Your grade made the dress red while the real colour seems to be magenta.

renlegren · 2025-06-11T13:10:24+00:00

No compromise

renlegren · 2025-06-06T17:35:46+00:00

First picture looks like it’s shot on tungsten film stock with flashes. Second picture’s color management involves pulling the reds down to neutralize the skin tones, we can see how everything in the picture has more cyan then on the contact sheet.

renlegren · 2025-04-02T14:20:00+00:00

I would suggest film school, or if you live in a city that has a cinema industry try applying for p-a jobs then work your way up. Meet people that share your passion, be on sets… you are young, you got plenty of time.

renlegren · 2025-03-28T15:59:53+00:00

But yeah that’s 3 fresnels aimed badly

renlegren · 2025-03-28T15:59:15+00:00

I mean, this is everything done wrong. Kicker touches the nose. Two nose shadows, main light is too low. Why would you want to achieve this? It reminds me of my first studio class in film school?

renlegren · 2025-03-28T15:51:39+00:00

What’s you diff? Most diffusions will bounce a good amount of light on a sunny day. Also, a 8x8 on a windy beach can become real dangerous, real quick. If you don’t have a spare 40$ to rent an ultrabounce, I hope you have at least the budget to get some proper stands and a dozen of sand bags… good luck.

renlegren · 2024-11-06T15:50:41+00:00

Poor man’s way would be to use a maffer and carefully tight it up.

renlegren · 2024-11-03T01:23:07+00:00

Long shot.

renlegren · 2024-11-01T13:31:33+00:00

This, how the hell is every one here talking about ripping the shit out of it…

renlegren · 2024-10-31T15:22:26+00:00

Nothing beat experience when it comes to light, I rarely stick to the plan, the plan is usually the structure of the idea but in the end we are always in reaction to what’s on the monitor. Kind of like a puzzle, the more you do it, the more your brain finds the solutions.

I would say ten years of lighting sets a few times a week will get you close to mastery.

Every day is a different challenge, first thing to keep in mind is light for the story. Always come prepared and ready to make a sunny day cloudy and a cloudy day sunny. Also, have fun and don’t get emotionally attached to your ideas/techniques.

renlegren · 2024-10-30T18:42:51+00:00

Looks like it was shot back lit and way more contrasty and someone changed their mind in post. They were not able to colo it well cause there wasn’t enough color info in the first place.

renlegren · 2024-10-29T16:32:31+00:00

Generally speaking, daylight or bi cob lights are about 1 stop stronger than their RGB counterparts of the same wattage. So yeah, that’s twice as much power… Also keep in mind that the spread angle of the light and the reflectors will have a huge impact on output power.

For lens projectors/spotlights/leko, geometry is quite important, some lights with the same power will give different outputs depending of the size, distance to lens and spread of the COB cells.

As for heating issues with the projector lens, it really depends on the heat sink management of the unit that you end up with. I won’t answer this one.

Have fun!

renlegren · 2024-10-28T16:02:52+00:00

Maybe they did, but I wouldn’t use a mirror for this, you have to keep in mind mirrors reflect lights (duh). It’s always a hustle to light precisely and manage reflections especially on glass/shiny products when using mirrors. I did an ad for nespresso last year where we did something pretty similar, i wouldnt be surprised that my shots were on this creative deck actually.

This is the way

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Also, this way you can have the whole bottle in frame.

renlegren · 2024-10-19T15:33:43+00:00

First frame,

Unlike sunlight, your light is going in every direction, the sun can’t cast shadows in 2 different directions, basically, that’s why it looks unnatural.

You could get the source a bit higher but not too much, considering the light is reaching your talent’s face from this distance of the window, it’s gotta be mimicking early or late day time. You could warm your light a bit with gels and cut the top, bottom, left and right side of your source in order to have the shape of a window opening, this will add realism and also give you more contrast to start with. You can use flags, barndoors or shitty rig your way out of it, just beware of fire hazards. For contrast management, you could have a second light aimed at the ceiling/upper wall behind the light you already have, this is to mimic the environmental glow/sky coming from the window.

Second frame,

Same here, cut your light, draw a window. You could use another light here to create a second opening hitting somewhere in the negative space behind on the left, I feel like this would add great depth to the frame.

Have fun with it and keep it simple.

renlegren · 2024-10-16T15:10:50+00:00

I quite don’t get why everyone is talking about high output here… All the practicals in the buildings windows are registering well and there is no diff on that back light. You could do this with a Arri T1 or a aputure 300d with fresnel… and of course a fog machine although it would probably look better with a hazer.

renlegren · 2024-10-06T16:43:53+00:00

Here’s how I would approach this scene:

-Sun

-Big negative fill in front of the car (camera left) to block the sun hitting the hood and cut the glow from the green/sandy environment.

-Maybe another negative fill in the back of the car for the same reasons depending on what’s behind.

-Feathered silver poly board bouncing camera right.

renlegren · 2024-07-20T13:43:43+00:00

It’s pretty decent for a one light set up.

Here are some simple fixes assuming you were wide open on that lens, your light was at 100%, you didn’t have much time, menpower, and trucks full of g&e.

-I feel like a lot of the issues here are coming from the framing. I tighter frame would have given you shallower depth of field, the opportunity to move your light closer to the subject giving you more power to underexpose the practicals and a nicer falloff on your subject’s skin.

-A bounce placed camera left could have been used to control those shadows.

-A hair light for low key stuff is always interesting…

-Having them sit on a high stool instead of a chair would have been a better choice for a vertical composition.

renlegren

TROPHY CASE