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I haven't done a D.I. yet so I don't know how I'd approach it, but yes, I might play the image a little more low-contrast in shooting and add contrast in post. In HD photography at least, this seems to clean-up some noise problems in the shadows. But it really depends on the project -- I could see using a D.I. for a very documentary-style approach where you were using the D.I. to fix contrast problems from shooting a lot in available light, or minimal light... not that some artifacts might result from fixing less-than-good photography.

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More so on HD features, but occasionally. Sometimes to darken one side of the frame, let's say, a row of daylight windows with billowing sheers. Other times, to darken part of a white room. Or an overhead bank of fluorescents. It's funny because I started using more ND grads once I got used to using Power Windows in the telecine, so it was sort of backwards, applying a post technique into the shooting instead.

I feel like softlight looks best when colors are very saturated a la Cries and Whispers. It's very difficult to control softlight and can get frustrating. Nets, and flags are basically your best friend, learn how to use them. Also, the chapter on soft light in the book: Film Lighting, is crucial.

I don't have too much of a problem using them, the problem is the equipment. I have a maximum of two floppy's and no nets. Doesn't feel too encouraging trying to flag big sources with tiny flags :huh:

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frank wartenberg - who is a Stills fashion guy who does some lovely work - lights the same way one or two Breise lights and the rest is flags or silver bounce to "model" the face and quite often a ring lite

Using negative fill can also increase contrast with soft sources. You can create negative fill and large cutters with duvetyn or other solid black material hung from a couple stands or clipped to the architeture (mouldings, drops ceilings and such).

Another sweet setup is to take 3 kinoflos. Set 1 on each side of the face, and flag it that is just grazes the jaw and the cheeks. Then take the third kino and aim it as a frontal key. Make sure the kinoflos that hit the side of the face are about a stop hotter, and you'll see what modelling is all about.

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But, on the other hand, I don't usually feel having to flag too much, maybe it's because my craft isn't too refined yet.

A DP friend showed me a really beautiful soft lighting setup with a sweet fall off. He took a tweenie, aimed frontally, and raised just a bit to get that tiny shadow underneath the nose...he then put it through a 4' by frame of 216. Underneath the camera was a 2' by bounce card, white side up, with a diffused tweenie hitting it and filling in the face. To the side of the frontal key light, he then set up nets and flags to make the edges around the face fall off. It looked like any shot from Vanity Fair or Cosmo mag...absolutely gorgeous and soft, with contrast.

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Bar lights offer flexible bright and dark field illumination depending on the number of lights used, the installation position & angle, and the inspection object in order to get the optimal image.

I am very into this look - and wanted to ask David S a question about the setup - were there 2 tweenies then - one thorugh the 216 and one diffused for the bounce board - if so where was the second tweenie

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Hi, I was wondering is there certain tried and tested ways to build contrast to image when using really soft light? What can the set designer do? I'm keen to experiment with soft light, but there isn't professional production design involved. Maybe I could give them some pointers?

Otherwise, you can add contrast in design (have the actor where black, for example), use a more contrasty process (skip bleach for example), a more contrasty film stock (color reversal for example), or add more contrast in post. You can also use ND grad filters to darken parts of the frame but that's limiting.