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I define wrap more as the distance that the light travels on a subject, so given a traditional interview type setup with the source at 45 degrees as you mentioned, how far across the face does the source travel? I think we can agree that if a given frame isn't fully filled by a source, then by definition it will have less wrap (i.e. Yes, some of this does have to do with nomenclature. I’m still very new to all this, as I’ve only really learnt how to light things properly in the past 12-18 months (thanks in no small part to some of your awesome posts about K&P!), but the low budget nature of most of the work I’m doing at the moment (mostly indie narrative), combined with my own stubborn insistence on beautiful lighting has forced me to get up to speed on lumen-efficient beauty lighting pretty quickly.įor beautiful, wrapping, feather-light shadows though I much prefer to bounce light off a big umbrella and back through a larger frame of diff, than double diffusing a direct source (I find that using umbrellas rather than creating a conventional book light is much more efficient lumen-wise - lets me get away with using smaller fixtures). This was particularly noticeable for a dining table scene where I had to toplight the characters sitting around the table through a 4x4 boomed overhead, with 216 the lighting felt very ’toppy’ but when I switched out the 216 for Silent Full Grid, I ended up with a much nicer wrap down the lengths of people’s faces. Similarly, I’ve found that the wrapping effect I get from a 4x4 frame of 216 (whilst nice) doesn’t seem to wrap quite as far around the face as a 4x4 frame of Full Grid from the same position. When I compared a 6圆 frame of Half Silk to Silent Half Grid (at about 45 degrees to the talent) I found they were pretty much equivalent in terms of light transmission/exposure, but the Half Grid wrapped much more smoothly around the face, the shadow cast by the talent’s nose in particular was much more defined with the Half Silk than it was with the Half Grid, which tapered off very smoothly. I agree that the size of the source relative to the subject is absolutely a key component, but in my (admittedly limited) testing I’ve found the diffusion material used can have a huge impact on how smoothly the light will wrap around a person’s features when it’s coming from an angle. Should I perhaps refer to that as “shadow quality” instead? soften the shadows cast across people’s faces by their noses, the ridges of their lips, cheekbones etc.). Not sure if I’m confusing terminology here (I’ve never had anyone to tell me otherwise) but when I talk about ‘wrapping’ I mean the ability of a particular diffusion to reduce the ‘sourceiness’ of a light across a face (i.e.