When filming around glass steel products, the reflections of light can create havoc for the director and lighting expert (if the production could manage this individual). The wrong choices in lighting can lead to refraction, reflection, and may even distort the setting or actors on the set. Sometimes the effects can be managed by controlling the angle of the camera on a specific scene, but typically, this is not practical, or it may be downright impossible. Controlling The light around certain steel or glass focal points is imperative to a quality scene and for that reason, choosing the correct type of light source or encircling can mean the difference between a favourable final product and one which you’ll need to edit and tweak in the last production stages. There are a few options available to manage highly reflective surfaces such as glass and steel.
The first and most fundamental tool in almost any lighting professional’s arsenal is your light box. This arrangement can come in many shapes and sizes, but in its fundamental core, it contains light that has been diffused from the walls of the light box with some opaque material. The light source, usually but not necessarily, originates outside the structure walls. This diffusion enables the director or the photographer the ability to control the lighting surrounding the item within the box. Using this tool does restrict the filming area to function as isolated section of the region inside the box itself. The light box is, for all intents and purposes, a box, usually in white cloth, and comprising lights or allowing penetration of light to the centre without the caustic effects of direct light. Light Boxes do have quite a few limitations, but they may also be designed to be much larger than conventional photography light boxes. The question about its use then becomes whether or not it’s practical in larger formats. When the scene takes a larger size light box, then chimera lights may be a better choice.
Chimera Fittings are a staple in the filmmaking industry for many years due to the amount of choices and versatility they provide most filmmakers. Direct light, even if it’s angled away from steel or glass, remains tough light and reflects in ways that make nightmare scenarios for Lighting Director to conquer. Chimera’s are designed to diffuse hard lighting into soft light patterns. Soft Light doesn’t reflect quite as much or as badly as hard lighting, which gives it its appeal to directors and photographers when working with glass or reflective steel. So as to see this in practice, the next time you see a TV show or movie that’s filmed in or around steel or glass, notice how clean the scene looks.