“The color space as it relates to the cameras is something that we’ve known Kino Flo has been at the forefront of lighting throughout their history. And that hasn’t changed, it’s only gotten better.”
“We have a formula for how we like to light studios. It’s definitely a combination of soft light and hard light to create a nice level of light for the cameras.”
“Part of the process today was to put different skin tones, different hue values, through their paces.”
“The color science of these lights is so good, you don’t see the green spike or the red spike which causes different kinds of skin tones to react differently on camera.”
“Because my history is in fashion, skin tones are always super important to me. Coming into this project knowing the spectrum of the lights that we were going to be using, I wanted to put together a camera package that would leverage and harness the quality of light that the lights were giving me.”
“The overall concept for this production was to build a base of the Diva fixtures and then lay in a small Leko in order to sculpt out a neckline. The two fixtures worked really well together. We were really happy and surprised how well the Divas and Ovation Rêves did together.”
“Being able to use these new Diva Luxes really gave us the base we needed to create a picture in conjunction with the Ovation Rêves, allowing us to come over top of that beautiful soft light and sculpt a picture, modeling faces to give a three-dimensional sense in a two-dimensional medium.”
Learn how to light your Divas.
