A gaffer explains how he lights for both video and stills on the same set. He uses continuous lights as the base, then adds a photographer's strobe timed and powered to create that bright photo look without resetting the whole rig. It saves time and lets the crews learn from each other.
So the one thing that sometimes gaffers have challenges with, with, say, with us, is the fact that we're always trying to do stills as well.
Yeah, because, you know, I typically light for video, which is a whole different world than lighting for stills. So in this case, you know, I had a lot of conversations with your techs and I said, I'll do the heavy lifting, add your strobe in to get that little bit of photo flare that you need. I've been on jobs where the photographers say, Turn off your lights, dude. I don't want your stuff. I want my lights. But I think for speed as well as efficiency, um, and my lights were bright enough that we were able to just kind of do a nice balance of the both, you know. We just slowed down your strobes so they weren't too overbearing. Yeah. Um, and but also, you know, we kind of like took— we took— we learned from each other a little bit, you know.
