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In these two sequential frames, the image on the left is reasonably well lit (key: 500W quartz halogen into 45" umbrella/fill: 22" silver reflector) but under-exposed. Image on the right has had a levels adjustment in Premiere 6.5, to boost the brightness. While it is an improvement, viewing on a TV shows grain in the black camera bags over the left shoulder. The original exposure setting robbed detail from the dark areas. This sort of adjustment absolutely requires a TV output. The monitor view remains so dark that further levels correction appears required, but doing it would be a mistake. If your camera has zebra overlays, set exposure on the face when you can still see some zebras at 70%. If you dial them out completely, you get the image on the left.

The lower image, also exported from Premiere's timeline, uses the same light and reflector, with an added light on the rear wall (camera bags moved) and with aperture opened up so that there were zebras running amok, including those on one very bright spot on the forehead which I would have said, from the LCD screen image, was blown out - badly overexposed. Clearly it was not, and the TV image I was monitoring made that apparent.
Camera: Sony VX2000

The following pair of images comes from footage shot a week later, in another test that included two mics and the Beachtek unit. As the titling describes the left hand image was shot at F3.4 with a 500W lamp into the umbrella as the key and the 22" silver reflector for fill. The right hand image bumps the key up to 1000W, with both worklamps on. On a TV screen both images are quite acceptable, and difficult to decide between, although these compressed images seem to me to favour the higher wattage key lighting. The colour contrast between these and the image above results from my remembering to do a manual white balance before taping the newer sequence.
Finally, a couple of shots of the equipment in the set up - nothing fancy as I've already admitted, but they get the job done in putting some sparkle in the eyes and some definition to the face. And no, I didn't have my head surgically elongated. I corrected the rectangular pixel video aspect ratio of the still exports to the square pixel environment used by computer monitors.
If you're still here, you can watch a few seconds of the shoot, covering the change from 500 to 1000W fill from the umbrella.

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