Bayou City Productions (www.bayoucityinc.com) created this great example of a virtual set in a 15x15 work space. An FL220 for the key light and an FL110 for the fill, along with a pair of fluorescents on the background, created the look and feel of a much larger set. One of the problems they overcame was spill from the background, some black pipe and drape solved that.

The illusion of a much larger studio was created by the turn the talent makes on camera. Of course this required 2 takes and a shift in the background, but the effect is excellent.

TV One Productions, Who says you can't do stop motion animation with video? In this example, TV One Productions did it twice. Shooting the stop motion took one week, then they delivered a perfectly animated and edited commercial for the client, before the client said, "Wow that's great, now can you do it with these other flowers instead?" See the results for yourself.

TV One Productions (tvoneproductions.net) The classic signature of fluorescent lighting is a soft,smooth even light. Here that effect can be seen in the skin tones. When watching this spot, pay special attention to the opening sequence and notice how the lighting is complemented by the use of filtration on the lens to produce a dream-like feeling.

Alphacam Productions (www.alphacam.tv) "Working in automobile showrooms, ambient daylight prevails, so having the soft daylight FloLights works great. Tungsten lights just don't work at all - when gelled, there is no output at all."
Says Kurt Schultz of Alpha Cam Productions.

The FloLights can be placed close to walls and close to the talent when space is limited. I also use HMI lights for back lights and for backgrounds as needed. So it is a great combination - and the low power consumption and no heat of FloLights make the setup easy."

The Charen Group (www.charengroup.com)has become a model of efficiency. By combining green screen techniques with their Prompter People products, that they don’t go on location any more. Walter Charen said, “We’ve been using your products for about 18 months to make TV commercials… before it took us most of a day to shoot three commercials. Now, we can do eight or ten within three or four hours, and that includes costume changes and lighting adjustments… We won’t do any more commercials without it.”

Dave F., DP.I need flexibility, and all of my camera, lighting and monitoring gear must fit into my Subaru. Some time the hardest part of my production day is getting gear in, setting up and tearing down. All of my FloLights ( and I have some of the original BIG round tube variety ) continue to perform flawlessly under some extreme conditions.