First Dance Lighting?

[Casual77]

I have an Obey 70 available for sale - only used once, rack mounted in a nice case, for just £100+postage (effectively the rack case is free)

That will last you longer than an Obey 10, where you'll quickly run out as you add fixtures.

I might be interested in that although it's a bit more than I was hoping to spend. Why did you only use it once?

[rth_discos]

I might be interested in that although it's a bit more than I was hoping to spend. Why did you only use it once?

I quickly moved to PC based DMX control - it fits my requirements much better.

[Steven]

Just looking through the forum as i'm new here and thought id revive this one as i feel its quite important.

For a wedding i've got coming up im using 4 inno pocket spots on a t bar behind me, 1/2 tri pars directly onto the uprights, and 2 starbursts on podiums (i didn't want to use these but the bride likes them)

The tri pars will be used as a wash on a static colour that flatters the bride and groom and ill swap it to a slow fade half way through so i can get the same pictures in different colours.

The 4 inno pocket spots will be DMX'd on open white circling the room phased (delayed follow rather than copy). The starbursts will be on static white slow rotate.

I think people overlook this key aspect quite a lot as the pictures you can get from a classy first dance could get you more work than you would believe.

Luckily i'm a guest at this wedding and my brother is DJing means i'll get a lot of useful marketing material..... I mean beautiful photographs for the Bride and Groom

[Imagine]

The most important thing with first dance lighting is to talk to the official photographer, and the bride and groom (in that order too).

The TOG will know what can and can't be achieved back in the studio. Some like smoke (those with back lighting), some hate it, some don't mind white "glitterball" dots, some do. ALL of them hate red and green lasers (and quite rightly so).

If your lighting is on DMX, you should be able to fairly quickly adjust the settings accordingly. It's the photographers pictures which are going to last a lifetime and you need to be in a position to help him/her achieve the best results of that all important moment.

[Excalibur]

The most important thing with first dance lighting is to talk to the official photographer,

And tell him he'll get open white gobos on slow rotate, and if I get any lip, the Swarms are going on full tilt.

Smoke, eh Wayne? I remember the good old days, when we could make the happy couple disappear if we wanted.

[yourdj]

I've noticed a split when it comes to photographers. Some say "Leave them all on" or "Give as much colour as possible" and others say "Just white".

Yep, although all of the photographers i have seen hate lasers and dots (especially red) on the B&G faces. I think lenses have become much better in the dark and photographers more arty now. I will always say "is thew lighting OK, this will be the brightness during 3/4 of the first dance". They love me for that. We are all in a team after all, so have to work together to get the best result for the happy couple.

[Shakermaker Promotions]

That's the way I look at it Toby, we are a TEAM and although we may not work together on a daily basis, when it comes to the Wedding day we all muck in together to give the best service possible.
I must admit I'd forgotten to mention the lasers in my above post. I would say 9 times out of 10 when I ask about the lighting they will comment about the lasers.
I don't use them until later on in the night anyway.

[Benny Smyth]

I understand and advocate the none use of lasers during the first dance as it's very difficult/impossible to remove those little dots for photographers and makes the photos look crap.

I'd actually go as far as to say ban lasers full stop, but that's another conversation for another time.

But beyond that, a photographer has the equipment and skills to work with what they're given. It's not like he or she gets to ask the sun to tuck behind the clouds as it distributes the light better.

I've worked out that 'togs tend to be more demanding on those of us with decent lighting. If we had Revo style dotty effects, we tend to not be told about his/her requirements.

But if you control your lighting...can you brighten it up/darken it/change the colour/feed my cat?

I used to show my lighting to give them warning. Now I work on the basis of my lighting looks good 'cos I'm good at what I do. Your snaps look good 'cos you're good at what you do. I've spent hours planning and programming my DMX shows and I really can't be bothered listening to someone who doesn't think that the wash colour isn't quite the right shade of blue...

Besides, they don't seem very receptive when you start suggesting lenses in return.

[rth_discos]

But beyond that, a photographer has the equipment and skills to work with what they're given. It's not like he or she gets to ask the sun to tuck behind the clouds as it distributes the light better.

Not suprisingly, it's the more expensive photographers that I've noticed make the most of my lighting and get the best shots. The "cheaper" ones get the flash straight out...

And don't get me started on the togs that go round with a whacking great big white light on their camera!

[Benny Smyth]

Not suprisingly, it's the more expensive photographers that I've noticed make the most of my lighting and get the best shots. The "cheaper" ones get the flash straight out...

And don't get me started on the togs that go round with a whacking great big white light on their camera!

I completely disagree with that. I know a lot of high end photographers who use flash. If used correctly, it's works really well.

As for the light on the camera, I think that's the best of both worlds. Lights up your subjects but doesn't drown out your lighting. I think that it can be a great effect if done properly.