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    I'll Explain Tomorrow

    Sorry, no episode today. It's not because I didn't shoot one. I did.

    Note to self... Don't shoot episodes with pre-production models of cameras. Duh!!!

    On the upside I met a cool guy from Praha named Henry and learned all about the Panasonic AG-AF100 (hands-on for hours), which we'll have at the next workshop starting on January 21st in New York.

    Until tomorrow...



    Gone Camping

    Related Links...

    Coleman LED Quad Lantern (I got mine on Amazon)

    There's absolutely no color correction or tweaking that's been done to today's episode. It could probably come up just slightly in exposure but it's not bad for freakin' led camping lights.

    Sorry Jason, I can't remember what I was supposed to say in the episode! 


    First Monday Of...

    Related Links...

    January 10th Event
    January 21st-23rd NYC Workshop (early bird extended until Friday, January 7th)
    Panasonic AG-AF100
    Remade Monday...


    EOY Episode

    Related Links...

    MiniGrip Kit
    Kessler CineSlider
    Advice for New Year's Eve...

    Thanks so much to everyone that comes to the site, watches gearbox, comes to my workshops, etc. See you next year!


    A Few Of My Favorite Things...

    LOTS of Related Links...

    Cinematography for Directors
    Bare Bones Camera Course
    Genus Bravo
    Nasty Clamps Adapter
    Manfrotto LCD Mount
    theEVENT (comes with the DSLR base plate)
    DSLR Baseplate
    Zoom H4n
    Blackwrap (Damn! Not good that it fell down. I look like Anthony Edwards.)
    CL-LED256 Light
    Zoom H1
    RODE Lav Mic (you'll also need the Micon-2 adapter to use it with the H1)
    Nasty Clamps
    ALZO 790L (make sure you get the Metal Shoe Mount with it).
    Sekonic L-308DC
    Marshall V-LCD70XP
    Canon 70-200 f/4
    24-70 f/2.8
    My Favorite Things...


    1:1, 2:1, 4:1

    Related Links...

    The Golden Ratio (thanks Michael)
    The "real" Golden Ratio

    Following are some links to Light Ratio theory. Beware. There are many opinions on this stuff and the approach and numbers (stop difference), don't always agree. Just like most things in life, there are many viewpoints.

    Read at your own risk!

    A simple explanation...

    Note: Many would define 3:1 as a 1 2/3 stop difference. Again, there is no one right answer. Some more links to that below.

    Another explanation...

    Note: In this one a 3:1 is defined as a 1 2/3 stop difference between the key and the fill.

    This one may make your head spin... (or not)

    And this...

    And one more related to cinematography...

    Typically I find that a one and a half to two stop difference, 3:1 to 4:1 ratio, is a good starting point when lighting subjects. You can then make the stop difference more or less depending on the mood that is trying to be conveyed. Obviously other things contribute to it like the space, actor's performance and the other lights that may or may not be used. Also remember that it is not just about making the light source less or more powerful. It is the measurement of where that light falls on the subject (based on the subject's position), that is important. It's all relative but the incident meter is the constant.

    In any technical subject there are going to be lots of opinions as to what is "correct". In the end, many times what matters is what you see. That said, using a meter allows you to get consistent results which is especially important when shooting narrative work where you want there to be a look and similar lighting ratios for certain moods that are being conveyed. If you lit a scene with an 8:1 ratio (again, defined differently by different people), it would be pretty dramatic and probably wouldn't work well for most comedies.

    Just remember... Your 2:1 might be my 3:1. No wait! Your 4:1 might be my 3:1. No wait...

    You get the idea. Lots of ways to get to the same place. Some explanations work for some people. Others work for others. In the end it's just about ratios. Settle on a system of stop differences for key/fill ratios that works for you. The tricky part comes when you work with someone you has a difference definition for the same ratio!

    Good luck with all of this. I know my head is spinning!