Here's the controller I used

And here's one of the modifications that I needed to reduce the flicker:

Here's an overview of the space:

Here's some printed brackets:

and a side view:

In a few days, I'll put together a blog of how I come to this result. Right now I'm awaiting a full copy of Black Magic's Fusion Studio in the hope of getting to the finest keying.

So I arranged a set of DMX Scenes to flow from one to another.

Mostly it turn out to be more complex than I expected. I written up my findings here:

http://wbavproductions.co.uk/resources/DMXControl.html

http://pages.ebay.com/link/?nav=item.view&alt=web&id=201368331204&globalID=EBAY-AU

http://www.gtc.org.uk/media/fm/Zerb%20articles/TLCI_web.pdf

Part Two: Editing

Part Three: Recoloring

Nothing groundbreaking, but I thought some would find it useful.

It is Supposed to be the next new thing. High CRI, customizable and very efficient. The outside surface of the bulb or fixture contains the phosphor and an internal high power LED source causes the phosphor to glow. The benefit is a consistent and uniform light source with no shadows or hot spots. I've found bulb style 98 CRI lights for under US$20.

I don't mean to be overly critical but something looks weird to me. Here are my guesses about what may have happened:

• Key lights positioned too low
• Light spill from background lights falling on the talent's left side (Maybe this was intentional?)
• Actor may have been positioned too close to the white background
• The two key lights look to have been set at equal intensity. Maybe lower the brightness of one of the key lights slightly.

What do you think? How could the lighting be improved.

I'm not sure if I'm going to use the ND filter. But if I do, how do I set the white balance?

Variable ND filter tends to change the colors and I've read that automatic WB is not recommended as it loses that golden glow from golden hour.

This filter has also polarizer. Any sense to use that feature?

They will post new stuff at http://www.youtube.com/user/DMovieNikon

Happy about any tips. Thanks

We have: Dedicated Sound mixer. Two camera operators with some experience, but mainly they are following my story boards. Actors traveling in from long distances for the duration of the shoot.

My plan was to get the masters and the inserts (Story related) together and re-light for the two over the shoulders to be shot at once. I realize this will be a more complicated, but I am experimenting with a center based universal soft light directed toward the principles of the camera side fill, and having each actor keyed by an individual directed light.

The rim light is a smaller diffused clamp light that gives just enough coverage to make the actor stand out in the close up but not so much that it distracts in the foreground. To be honest, it is a tad bit distracting so I have been experimenting with edging it away from camera side as to not overly illuminate the foreground subject.

The camera set up is to the left and right of the fill light. We have been able to get in really close without issue, but there is not much room for movement, basically leaving us with static shots for dialog. To compensate we would basically do a slow push into a more extreme close up, but we have only so much area to the left or right.

Would it be more efficient to set up things in another way? If so, could you explain?