Exploring the Power of Omnidirectional Lights

In general, we appreciate lights with direction. We have so much control over where and how a directional source hits a subject. However, with having to shoot out large locations, we sometimes find ourselves needing big, soft sources to create a sufficient ambient light level.

This is an instance where omnidirectional lights are extremely useful. They emit light from the source at every angle. Popular examples are Jem Ball units, spacelights, and Chinese lanterns. The great thing about these is that you can switch out the bulb inside and use a variety of different wattage systems for a weaker or stronger output.

SPACE LIGHTS

In a studio environment-especially one with a greenscreen-spacelights are often rigged overhead to create a general fill and evenly light the screen behind the subjects for exposure. More directional units are then used to be specific keys and edges.

On shows with more even lighting, such as sitcoms, spacelights can be effective throughout different rooms of a set to light actors as they move through the space and to ensure that parts of their surroundings do not fall off into shadow.

You can also put a variety of types of bulbs inside, from tungsten bulbs to HMIs like a 400W Joker with a simple adapter. I have seen Kinos and other panels above that work well, too, as an overhead grid to fill a space, but often come with a lot of flags and other grippage alongside them to cut the light and avoid creating shadows.

I find that, in general, if you can do bigger, softer sources, shadows are minimized and they can often present less problems than one would think they may cause.

Scene from Cassidy Red using a grid of china balls

LINK:	http://www.tvtechnology.com/resources/0006/exploring-the-power-of-omni...
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