Tungsten light in daylight

[Lisa Strong]

I'd like to gently fill shadows shooting in daylight for informal outdoor interviews. I understand a significant amount of tungsten light is lost with the dichroic filter (to balance the warm to cool color temperature). HMIs are, of course, very appealing, but too expensive. I've read a bit on these boards about the 3W Canon light. Would it look terrible if you didn't correct the warm tungsten light in daylight if you were only filling shadows (which are even blue anyway)? If this light is good as an eye light, is it still okay as a warm eye light?

Wondering.

LS-A

[Ken Tanaka]

The cheapest and most versatile way to fill shades when shooting in strong daylight is with a reflector. The 3w Canon GL2 light will just not throw enough light to even be seen in such conditions. Even the 10w light would likely get lost.

[Lisa Strong]

Well, that's good to know. I do have a reflector, but that requires an assistant. It's also not my best option under overcast skies, which I expect where I'm heading. I normally do interviews with a KinoFlo Divalite 400. But a stand-up light really isn't an option for my upcoming situation. This will be in a relatively remote setting, and I'm wondering about options for a gentle fill. Any other ideas?

I've considered other on-camera lights: Anton Bauer UL2, Frezzi minifill, Coolux 3000. I've seen the first two and prefer the UL2 (w/softbox) compared to the Frezzi (w/softbox). Haven't seen the Coolux in action, only on the web. Adored that KinoFlo ring-light, but can't afford it. Plus, it's more for the studio. And they all trip me up when it comes to batteries. I'd be set if I was shooting with my XL-1. I have the Anton Bauer battery set up with a power tap to plug in an on-camera light, but I need to go as light as possible, so I'm taking a GL-1 and 2.

Too many options, and not enough.

LS-A

[Ken Tanaka]

I just watched a short video, linked remotely to your Web site, of a woman telling me about a yellow slug in the forest. Is that you and is that the type of setting you anticipate? If so, I see what you mean by "remote" and "overcast".

I think you'll definitely need to use a 12v light. I own both the 10w and 3w Canon lights and just think they won't fill the bill, even in such dim forest settings. I have little experience with on-camera lighting (I hate the darn things and would rather start a small fire nearby than use one.). But I have noted that folks here have reported good experiences with the Frezzi and the Coolux. I don't recall any reports at all about the Anton Bauer's here.

[Bryan Beasleigh]

Lisa,
Just how portable would this lighting have to be. To get sufficient light you may need to lug some fairly heavy 12 volt batteries . The rest would depend on the wattage and the illumination time.

The weight/battery amp hours vs wattage vs hours required. Once you know the limitations, anything is possible. In other words figure out how much juice you can carry and then go from there.

[Lisa Strong]

Yeah Ken, that's me. For that, I not only wrote it, directed, shot b-roll and edited, I was the danged talent too. If I can get away with something lightweight, that would be ideal, given I'm often the porter as well. I think lighting a fire might be a bad idea. You know, the light is really just too warm.

LS-A

[Ken Tanaka]

Well Lisa, if I lived out there I'd help you out in a heartbeat. Here in Chicago, the term "wildlife" is synonymous with tourist hot spots, not slugs. I'm love to do some educational doc work on environmental and nature subjects.

I don't think there's any way around shlepping 12v batteries for what you need. NRG and A-B make battery belts that help to distribute the weight to your hips.

Let us know how you resolve this problem.