Building Studio

[GMD]

Hi,

am converting on of our sheds in a little studio.
Size 30x30 feet height 8-9 feet.
How would you go about colour of walls and ceiling ?
White? black ?
what power do you suggest for monolights
3x250 or 3x 500 or more or any other combination ?
Im happy with 3 lights, am using also a Metz 70 ct5.

Comments please.
Thanks
gmd

 

[Jim DeLuco]

Hi,

am converting on of our sheds in a little studio.
Size 30x30 feet height 8-9 feet.
How would you go about colour of walls and ceiling ?
White? black ?
what power do you suggest for monolights
3x250 or 3x 500 or more or any other combination ?
Im happy with 3 lights, am using also a Metz 70 ct5.

Comments please.
Thanks
gmd

This is an exciting project.

If I were renovating I would add a large (maybe 12-15' long) floor to ceiling window or sliders(with sheer drapes over it for diffusion) on the North side for window light portraits. I would paint the walls white for reflective value.

Three 250ws lights are enough, but four would be better, in case you want to do some traditional backdrop portraiture...one main light, one fill, one hair light and one for the backdrop.

 

[GMD]

Hi,

am converting on of our sheds in a little studio.
Size 30x30 feet height 8-9 feet.
How would you go about colour of walls and ceiling ?
White? black ?
what power do you suggest for monolights
3x250 or 3x 500 or more or any other combination ?
Im happy with 3 lights, am using also a Metz 70 ct5.

Comments please.
Thanks
gmd

This is an exciting project.
If I were renovating I would add a large (maybe 12-15' long) floor
to ceiling window or sliders(with sheer drapes over it for
diffusion) on the North side for window light portraits. I would
paint the walls white for reflective value.
Three 250ws lights are enough, but four would be better, in case
you want to do some traditional backdrop portraiture...one main
light, one fill, one hair light and one for the backdrop.

You have a point there) and hit the nail on the head
It is a metal shed (existing) open on one side (no doors yet)
all other sides have no windows. The open side will get a large window
and its North .. well kinda .. cause we are far downunder
so u would call this window South ) ... well this is wher our sun is
during the day ..

Ok first vote for white lets see what others say..

I use my Metz as a hair light or as a back light
just depending what im doing .. I use it as the 4th light

I reckon 250s are fine with white walls but I may have to get
a few black bookends or the other way around when I go black
for the walls. Not sure here ..

Thanks for the comments .

By the way ... you should see the shed now ... what a mess
and it needs aircon for summer ... no way without it

Regards
gmd

 

[John Garin91212]

Hi,

am converting on of our sheds in a little studio.
Size 30x30 feet height 8-9 feet.
How would you go about colour of walls and ceiling ?
White? black ?
what power do you suggest for monolights
3x250 or 3x 500 or more or any other combination ?
Im happy with 3 lights, am using also a Metz 70 ct5.

Comments please.
Thanks
gmd

This is an exciting project.
If I were renovating I would add a large (maybe 12-15' long) floor
to ceiling window or sliders(with sheer drapes over it for
diffusion) on the North side for window light portraits. I would
paint the walls white for reflective value.
Three 250ws lights are enough, but four would be better, in case
you want to do some traditional backdrop portraiture...one main
light, one fill, one hair light and one for the backdrop.

You have a point there) and hit the nail on the head
It is a metal shed (existing) open on one side (no doors yet)
all other sides have no windows. The open side will get a large window
and its North .. well kinda .. cause we are far downunder
so u would call this window South ) ... well this is wher our sun is
during the day ..

Ok first vote for white lets see what others say..

I use my Metz as a hair light or as a back light
just depending what im doing .. I use it as the 4th light

I reckon 250s are fine with white walls but I may have to get
a few black bookends or the other way around when I go black
for the walls. Not sure here ..

Thanks for the comments .

By the way ... you should see the shed now ... what a mess
and it needs aircon for summer ... no way without it

Regards
gmd

White for the color...sorta a no brainer....

 

[Roy]

I built a 20 x 26 studio addition onto my home last year. I decided on white ceiling and grey (not as dark as 18%) walls. I personally don't want my walls bouncing light around in the studio. In my experience the studio is where you want to control light. Best to do that with reflectors etc. I have a large double window on the north side, french exterior doors on the east side which go out to the woods and large rock piles, and a large double window on the west side. These were not really added for lighting as much as adding resale value to the room since it is an addition to my residence. The north window is nice for using natural light in the studio but is not required. I am currently using 6 foot pull down blinds to kill the light when not wanted which is most of the time. I also use wood strips with velcro to seal off light escaping from the sides of the blinds. Working on a better solution to this. Ceiling is 9 foot. Floor is hardwood. Seperate entrance from outside. Plenty of outlets along with some exterior outlets for when I need to light the rocks outside for family portraits. The only reason I didn't go larger with the studio was due to cost constraints and the studio is already cramped so the larger the better. Sounds like you have a lot to do to get your area ready but I am sure you will enjoy the results.

Roy

Hi,

am converting on of our sheds in a little studio.
Size 30x30 feet height 8-9 feet.
How would you go about colour of walls and ceiling ?
White? black ?
what power do you suggest for monolights
3x250 or 3x 500 or more or any other combination ?
Im happy with 3 lights, am using also a Metz 70 ct5.

Comments please.
Thanks
gmd

This is an exciting project.
If I were renovating I would add a large (maybe 12-15' long) floor
to ceiling window or sliders(with sheer drapes over it for
diffusion) on the North side for window light portraits. I would
paint the walls white for reflective value.
Three 250ws lights are enough, but four would be better, in case
you want to do some traditional backdrop portraiture...one main
light, one fill, one hair light and one for the backdrop.

You have a point there) and hit the nail on the head
It is a metal shed (existing) open on one side (no doors yet)
all other sides have no windows. The open side will get a large window
and its North .. well kinda .. cause we are far downunder
so u would call this window South ) ... well this is wher our sun is
during the day ..

Ok first vote for white lets see what others say..

I use my Metz as a hair light or as a back light
just depending what im doing .. I use it as the 4th light

I reckon 250s are fine with white walls but I may have to get
a few black bookends or the other way around when I go black
for the walls. Not sure here ..

Thanks for the comments .

By the way ... you should see the shed now ... what a mess
and it needs aircon for summer ... no way without it

Regards
gmd

 

[Tom Meeks]

I like one of the earlier suggestions that called for a white ceiling and gray walls. But, I would seriously consider ALL gray and a bit on the darker side... or a black ceiling with darker than neutral grey walls... much like you would see in most TV studios.

It is easier to ADD light than to kill unwanted light reflecting from unintended sources.

I'm also leaning toward MASSIVE amounts of light if possible rather than 'adequate' lighting; but, this is just based on a hunch that the longer we expose the CCD to slight, the more 'noise' we generate. Still have to test this.... and it could be VERY wrong; but, I'll be working on it.

Hi,

am converting on of our sheds in a little studio.
Size 30x30 feet height 8-9 feet.
How would you go about colour of walls and ceiling ?
White? black ?
what power do you suggest for monolights
3x250 or 3x 500 or more or any other combination ?
Im happy with 3 lights, am using also a Metz 70 ct5.

Comments please.
Thanks
gmd

 

[William Faulkner]

Hi,

am converting on of our sheds in a little studio.
Size 30x30 feet height 8-9 feet.
How would you go about colour of walls and ceiling ?
White? black ?
what power do you suggest for monolights
3x250 or 3x 500 or more or any other combination ?
Im happy with 3 lights, am using also a Metz 70 ct5.

I read that most people seem to want White ceilings. With 9ft ceilings you may want to go Grey or even Black, if you have a need to do any dramatic lighting. At least consider a system to hang Black over your set/subject if you do go White.

Power, not the output of your strobes but the AMPS coming into your studio should be towards the top of your list. Isolate atleast one circuit for your computer, then if possible, gang two seperate circuits into 4-outlet wall boxes. Have as many circuits and outlets as practical for you. They're a lot easier to put in during consruction than adding afterwards.
Looks like you've got a project on your hands. Have fun.

Regards,
Bill Faulkner

 

[Uncle Walt]

Sounds like fun. I guess I'd look at painting half white and the other half mid-dark grey for low-key stuff. Split it at that northern window so you can use both color settings with window light. Ceiling just slightly warm.

I think 3x250 is probably enough, especially if you're using the Metz.

Need some help? You buy the ticket and I'm there for you!!

Hi,

am converting on of our sheds in a little studio.
Size 30x30 feet height 8-9 feet.
How would you go about colour of walls and ceiling ?
White? black ?
what power do you suggest for monolights
3x250 or 3x 500 or more or any other combination ?
Im happy with 3 lights, am using also a Metz 70 ct5.

Comments please.
Thanks
gmd

 

[GMD]

Just hat to pay the ticket for my son going back
to Canada ... the budget is rock bottom on that
one.. ) but ur welcome .. we have another shed
with a bed )

Grey wall, white wall and darker grey ceiling
sounds like a good idea to me.

Its not as much work as one may think because
I already have the outer skin of the shed and
we live in a warmer climate (dry) dont need
thick walls and heating and ... its fairly easy
I expect to have this done in October. Will
post some pics when I am done.

regards
gmd

I think 3x250 is probably enough, especially if you're using the Metz.

Need some help? You buy the ticket and I'm there for you!!

Hi,

am converting on of our sheds in a little studio.
Size 30x30 feet height 8-9 feet.
How would you go about colour of walls and ceiling ?
White? black ?
what power do you suggest for monolights
3x250 or 3x 500 or more or any other combination ?
Im happy with 3 lights, am using also a Metz 70 ct5.

Comments please.
Thanks
gmd

 

[Bern Caughey]

Due to it's height I would go with a medium dark grey to black ceiling. The room is fairly good sized so the walls could be white to medium gray. If you want to shoot available light you'll likely want white walls. You could paint the ceiling near the "Northlight" window white. It could help the light from feeling too heavy.

Put in as much electricity as you can afford. You may grow into using constant light sources or larger strobes & will need a good amount of juice. You could draw all the power from one spot in the studio & just run extension cables to the lights.

I would also have a large loading door or large windows facing the setting sun. It would be great if the ceiling was white in this area. Perhaps you should paint the center 20'x20' dark & the outer 10' border white.

It would be very nice to have soft frost or sheer material on runners over the windows & doors. Another runner with black cloth panels would be very flexible.

You can do alot without spending alot. Although they are a bit confusing to use at first, you should get a few C stands & small to medium flags. You may be able to buy the stands used. You'll need some sand, or better yet shot, bags.

Additionally you should get several black & white sided 4'x8' foamcore boards. Tape two of them together along the longside to make "V"s. These are extremely handy. Don't store them where direct sunlight is hitting them or they will develop a curl.

If you can get a piece of white foam or bead board. Cut these down to 4'x4'. Cut one of these pieces into two 2'x4' sections. Cut one of these down to two 2'x2' pieces. Once again cut this in half so you have two 1'x2' pieces. Cut one of these down to two 1'x1' pieces. Roscoe & Lee make 4' long rolls of pebbled silver material. One of Roscoe's is called "Soft Silver Reflector #273". Spray mount this onto one side of each of the bead boards. Them use gaffer or duct tape along the edges.

You now have a 4'x4', a 2'x4', a 2'x2', a 1'x2' & two 1'x1' reflectors. This is the standard way to make reflectors in the movie industry. Although they do not fold up they are the best reflectors available. The bead board is softer & more even than foamcore & the stiff surface is superior to the fold up style.

It would be great to have a few "Bead Board Holders" as well. The knickname for these is Platapus. These fit into the C stangs grip head and allow you to position the reflectors almost anywhere.

These items as well as gaffer & paper tape should be available at the movie industry supply houses in Australia. In the long run you'll save money over other options.

 

[Uncle Walt]

Tom-

Another interesting topic. I have been wondering the same thing after looking at some of my test shots from digital. The transition to shadow is where I'm really being bothered by the CCD noise. It would be interesting to devise a real test to see the effects of lower light levels on noise.

To make this a bit closer to topic - if this is true, perhaps we should explore lighting techniques that would take us from full light to full shadow quickly - thus reducing the amount of the photo in the troublesome transitional phase. An example of what bothers me can be seen when you use window light with little or no reflector fill. As the light falls off into shadow the skin turns really noisy and looks weird.
-Walt

I'm also leaning toward MASSIVE amounts of light if possible rather
than 'adequate' lighting; but, this is just based on a hunch that
the longer we expose the CCD to slight, the more 'noise' we
generate. Still have to test this.... and it could be VERY wrong;
but, I'll be working on it.

 

[Tom Meeks]

That's exactly why I began my quest. I shoot sculpture and use light and blocking of light to produce a gradient background.

I REALLY see banding and noise in the transition. So, I began to try to find out why and how to get rid of as much as possible.

You gave a great example.

Thanks!

To make this a bit closer to topic - if this is true, perhaps we
should explore lighting techniques that would take us from full
light to full shadow quickly - thus reducing the amount of the
photo in the troublesome transitional phase. An example of what
bothers me can be seen when you use window light with little or no
reflector fill. As the light falls off into shadow the skin turns
really noisy and looks weird.
-Walt

I'm also leaning toward MASSIVE amounts of light if possible rather
than 'adequate' lighting; but, this is just based on a hunch that
the longer we expose the CCD to slight, the more 'noise' we
generate. Still have to test this.... and it could be VERY wrong;
but, I'll be working on it.

 

[Dhenry]

Hi,

am converting on of our sheds in a little studio.
Size 30x30 feet height 8-9 feet.
How would you go about colour of walls and ceiling ?
White? black ?
what power do you suggest for monolights
3x250 or 3x 500 or more or any other combination ?
Im happy with 3 lights, am using also a Metz 70 ct5.

Comments please.
Thanks
gmd

White,white, white and white! If you ever want to do any high key lighting you'll be happier. It is very easy to use Black material in place of a reflector to "subtract" light. I once had a studio that was all white and screwed that up by painting it grey. I had nothing but headaches after and ended up painting it all white again. Any shiny surface will reflect what is close to it. I find subtracting light is more controllable than "adding" light.

Good luck!

 

[GMD]

Tom,

can u give us a little more detail.
Do u avoid that by using more light and faster shutter speed ?

Thanks
gmd

I REALLY see banding and noise in the transition. So, I began to
try to find out why and how to get rid of as much as possible.

You gave a great example.

Thanks!

To make this a bit closer to topic - if this is true, perhaps we
should explore lighting techniques that would take us from full
light to full shadow quickly - thus reducing the amount of the
photo in the troublesome transitional phase. An example of what
bothers me can be seen when you use window light with little or no
reflector fill. As the light falls off into shadow the skin turns
really noisy and looks weird.
-Walt

I'm also leaning toward MASSIVE amounts of light if possible rather
than 'adequate' lighting; but, this is just based on a hunch that
the longer we expose the CCD to slight, the more 'noise' we
generate. Still have to test this.... and it could be VERY wrong;
but, I'll be working on it.

 

[Nikon Dave]

I would disagree (aren't differeent opinions wonderful?). The area I use for my shoots has all light colored walls, and I am always fighting to get better control and prevent unwanted light. If the area was dark my life would be far easier!

Also - go for as much light as you can (it's a lot like wire or rope, you can always make it shorter but it's real hard to make it longer).

Dave

Hi,

am converting on of our sheds in a little studio.
Size 30x30 feet height 8-9 feet.
How would you go about colour of walls and ceiling ?
White? black ?
what power do you suggest for monolights
3x250 or 3x 500 or more or any other combination ?
Im happy with 3 lights, am using also a Metz 70 ct5.

Comments please.
Thanks
gmd

White,white, white and white! If you ever want to do any high key
lighting you'll be happier. It is very easy to use Black material
in place of a reflector to "subtract" light. I once had a studio
that was all white and screwed that up by painting it grey. I had
nothing but headaches after and ended up painting it all white
again. Any shiny surface will reflect what is close to it. I find
subtracting light is more controllable than "adding" light.

Good luck!

 

[RDKirk]

I would agree with white or a light gray. It's easy to subtract reflected light right at the places you want it subtracted with the black gobos you should have anyway. It's much more difficult and expensive to add light.

Also, you will be turrning off most or all room lights in order to see the modeling effects. If the room is painted black, you will constantly be stumbling over things, losing things, tripping over cables, et cetera. If the room is white, it will reflect just enough light not to be dead black outside the illuminated area.

White,white, white and white! If you ever want to do any high key
lighting you'll be happier. It is very easy to use Black material
in place of a reflector to "subtract" light. I once had a studio
that was all white and screwed that up by painting it grey. I had
nothing but headaches after and ended up painting it all white
again. Any shiny surface will reflect what is close to it. I find
subtracting light is more controllable than "adding" light.

Good luck!

 

[Dhenry]

Also, you will be turrning off most or all room lights in order to
see the modeling effects. If the room is painted black, you will
constantly be stumbling over things, losing things, tripping over
cables, et cetera. If the room is white, it will reflect just
enough light not to be dead black outside the illuminated area.

White,white, white and white! If you ever want to do any high key
lighting you'll be happier. It is very easy to use Black material
in place of a reflector to "subtract" light. I once had a studio
that was all white and screwed that up by painting it grey. I had
nothing but headaches after and ended up painting it all white
again. Any shiny surface will reflect what is close to it. I find
subtracting light is more controllable than "adding" light.

Good luck!

RDKirk, that is so true! Were you there when I kept tripping all over myself? I had to carry a little flash lite all the time. PAIN in the .

I found that I didn't look all that pro when I could not find my sync cord in the dark. A movie theatre should be dark, but the studio should be well lit!

When I repainted the studio everyting returned to a much more managable state. White is the right way for ultimate control IMHO.

 

[GMD]

Ok guys,

what I have learned from the responses:

I will make two halfs, one white, one light grey
also the ceiling, white on the white side and grey
on the grey side, all with round corners also on the floor.

I will put curtain tracks along the whole room
and also accross for drops on either side of the
modelling areas (grey, white)

I will use double tracks, will have black curtains
along the window wall from wall to wall
and will have black and grey curtain on the white side
for both back and side and black and white curtains
for the grey side.

The curtains are the cheapest solution and then ill
combine this with separate reflectors.
I will use two main power outlets with cable channels
in the floor coverd with a lid and leave cable channels
accessible to run any cable accross the room (length and width).

How does that sound ?

regards
gmd

 

[Uncle Walt]

GMD-

I'm not Tom, but I haven't found a way to make shadow transitions in portraits look "right" yet. Sounds like Tom is also searching for answers. His theory about light volume is very intriguing and should be investigated more. More light seems to work, I haven't found shutter speed to make a difference.

I find I can easily live with the image I get in the lighted portion of the frame; but as the picture transitions to shadow - take a headshot of someone looking out the window, notice the gradual transition to shadow along the face and how weird the skin becomes - that's where the CCD noise bothers me. Take the same shot, but use fill flash to get more light on that cheek and it looks much better.

Software can probably be made to greatly help this problem - once it has been clearly defined. For the lighting forum, if this is something more people agree is a problem, we might consider ways to light a scene to avoid these transitional shadow areas.

-Walt

can u give us a little more detail.
Do u avoid that by using more light and faster shutter speed ?

Thanks
gmd

I REALLY see banding and noise in the transition. So, I began to
try to find out why and how to get rid of as much as possible.

You gave a great example.

Thanks!

To make this a bit closer to topic - if this is true, perhaps we
should explore lighting techniques that would take us from full
light to full shadow quickly - thus reducing the amount of the
photo in the troublesome transitional phase. An example of what
bothers me can be seen when you use window light with little or no
reflector fill. As the light falls off into shadow the skin turns
really noisy and looks weird.
-Walt

I'm also leaning toward MASSIVE amounts of light if possible rather
than 'adequate' lighting; but, this is just based on a hunch that
the longer we expose the CCD to slight, the more 'noise' we
generate. Still have to test this.... and it could be VERY wrong;
but, I'll be working on it.

 

[GMD]

I find I can easily live with the image I get in the lighted
portion of the frame; but as the picture transitions to shadow -
take a headshot of someone looking out the window, notice the
gradual transition to shadow along the face and how weird the skin
becomes - that's where the CCD noise bothers me. Take the same
shot, but use fill flash to get more light on that cheek and it
looks much better.

Software can probably be made to greatly help this problem - once
it has been clearly defined. For the lighting forum, if this is
something more people agree is a problem, we might consider ways to
light a scene to avoid these transitional shadow areas.

-Walt

Tom,

can u give us a little more detail.
Do u avoid that by using more light and faster shutter speed ?

Thanks
gmd

the question is if you want the shadows as part of the image
or not.. If not .. well use more light..
If yes ... thats a different story ...
gmd