Smile
 

I've done this at work in the hospital with the drop ceilings and lights...

Haha, what a creative piece, Lorinda! I'm really glad we made the agreement to finish our films. If you hadn't told us about all your trials and tribulations, I would've thought this was your Plan A film. In fact, I honestly did NOT notice any technical difficulties previously mentioned (like the audio hum), because I was so into the storyline!

Now I read that you're either supposed to use fake alcohol, or spit the alcohol out after the take. I wonder if your friend and you did that, hmmmm? ;)

I do have to admit that not seeing your face was a bit of a tease, Lor. I've read your reasoning behind it, but I think we as the audience have been deprived here! Heheh, there's already enough wonder here on the boards on what our fellow filmmakers look like!

Like others, I enjoyed watching your film. Even when it's a desperate attempt to get something in, you manage to give us something "warm" to watch.

Now...About you're not comfortable with your face having a lens pointed at it, I have some suggestions. First off, from past videos where you appear, and from the images I've seen on your website I think you are a very attractive person. In my studio days I did portraits of women from 2 to in their 90's and always managed to portray them in a way that pleased (sometimes surprised) them and their families.

1. Soft lighting. In the studio I used "beauty dish" reflectors, soft white umbrellas, and soft boxes mostly with Photogenic StudioMaster units. What I use now on video is even softer...100watt equivalent CFL bulbs in Smith Victor A100 and PL-10 (modified to allow standard bulbs to be used) units with 10 and 11 inch reflectors. I buy the "bright white" ones and find for me they have adequate output (I tend to light fairly close in) and their light is just soft enough to help folks look good. No harshness.

This is also a lower cost setup than most others. About $79 for the A100 and $59 or so for the PL-10 (which is really for a longer bulb. I had to open it up and move the socket up to the back of the reflector, drilled a few holes to allow securing it with screws). You have almost no heat, very low current drain.

2. Diffusion at the lens. Subtle and used only in closeup. The Cokin diffusion filters are inexpensive and just about perfect for this, but they do vary in strength. I have 3 #1's and 2 #2's that wind up giving me a set of 5 graduated strengths. Ranging from so subtle you can't even see that diffusion was used yet skin tones came alive a bit more, 3 increasing degrees of diffusion, to the fifth "don't even TRY to focus through this one".

But I think softer lighting would do the trick.