The crew at TA Films used to shoot their chroma key shots in front of green screen fabric – then they learned the value of having a painted green screen cyc wall and of Rosco’s Chroma Key Green Paint.
Scenic Artist, Rachael Claxton, describes three ingenious ways to put Rosco CrystalGel to work in your next scenic art project.
KNPB-TV in Reno, NV began their upgrade to LED studio lights with Rosco’s Braq Cube WNC LED fixtures that they use as backlighting for their local programs.
Cinematographer Chris Vanderschaaf recently tested the DMG Lumière MAXI Switch on a high-speed, slow-motion project, then shared how one, singular MAXI delivered the clean, bright output he needed.
The filmmakers working on several of the Marvel Netflix series chose to use Rosco SoftDrops to re-create a variety of New York City neighborhoods on their sets.
Cinematographer Benjamin Gaskell created the same soft look of a Book Lighting setup using a DMG Lumière MAXI Switch shining through a piece of Rosco diffusion during a David Crosby music video shoot.
Director and Cinematographer, Barry Andersson, put a Silk 220 LED soft light and a DMG Lumière MAXI Switch to work on his latest feature. He explains how they both helped him overcome challenges he encountered on location.
Scenic Artist, Angelique Powers, shares several techniques on how to create faux patina effects for scenery and props using Rosco Scenic Paint products.
Seattle Channel renovated the lighting system in their broadcast studio with several Rosco LED light fixtures to create a cooler work-environment with lighting that matched their plasma studio monitors.
Lynn Lane, Photographer for Houston Grand Opera, used three Silk 210 LED fixtures to light a series of ‘silent interview’ portraits of local Houston Veterans for a music video celebrating HGO’s “Veterans Songbook” project.