diagram: stick & feather – our backs against the wall

While setting flags, nets, and large frames is primarily a grip’s job, every gaffer is inevitably going to find themselves working without one.

Here’s two simple rules to follow when placing flags with point source lights to achieve the desired effect:

– for a soft/fuzzy cut, place the flag closer to the light
– for a hard cut, place the flag as close as possible to the surface where the shadow falls

The closer a flag and light are together, the fuzzier the cut, which can be a nice way to have light gradually taper off a background.

For the hardest, cleanest cut, place the light as far back as the space and output will allow, and then place the flag as close to frame as possible.

This effect happens because our point source lights aren’t infinitely small dots, but do occupy some amount of 3D space. When you place a flag close to the light source, you may be cutting light from one side of the COB/reflector/fresnel, while light from the other side is still shining unobstructed into the desired shadow area.

The further a flag is from the source, the smaller the output area appears relative to the flag, and the more optimal the cut will be as a result.

And to make the sharpest cuts with absolute ease, go get yourself a spotlight!

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An Intellytech mega-8 saves the day in this tight fitting setup, allowing me to fully fill an 8×8 magic cloth within a distance of a few feet.

This compact but soft key light setup allowed us to place our talent deep into the golf simulator bay, and more importantly gave the DP the look he was going for.

Some neg placed behind talent helps add shape, an Aputure Infinibar PB12 opposite the key helps cut them from the background, and an Aputure 600d Pro provides space fill to the subjects in the back.

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agency: Dual Studios
prod: Sam Brodsky
dir: Kevin Noonan
dp: Ben Brodsky
ac: Alex Gutzmer
gaffer: Tyler Trepod