Why the heck do grids ruin light quality?

[FHDcrew]

I really enjoy my 47" parabolic softbox, but I've not used the honeycomb grid for most projects.  While I love that it reduces light spill greatly, it also creates undesirable hot spots that seem to ruin the ultra-soft quality of light.  Is this normal, and is there a way to prevent the hot spots while using the grid?  This is a shot of me on a Nikon Z6 shooting NLOG to the Ninja V, with a Tamron 45mm 1.8.

Here is a shot with the grid:

 

Here is a similar shot but without the grid:

[PPNS]

are you just front lighting?

you dont really need to use the grid, and if something bothers you, you should still be able to cut some light out with a flag

[Alexis Fontana]

I wouldn’t say they ruin the quality of the  light but they do indeed change the characteristics a bit. Consider this - when you’re looking into the source from a slight angle there will be less surface area visible witch leads to a “harder” feel of the light hitting your subject. Not always bad though, and I don’t see any hotspots (except what to expect from an harder light) only slightly more defined shadow areas. This is where makeup can help a lot of you want a look that’s a bit more punchy but stay out of trouble with shiny areas.

 

So - consider it’s a tool to both reduce spill in a quick and easy way with the slight change in characteristics and then use the knowledge to create the moods you’re aiming for. And like PPNS says - if you want to keep the softness use good old cutters and flags. Happy new year!

[fuzzynormal]

Maybe it's just me and my background as a doc guy, but you're being incredibly particular there as the two shots are pretty similar.  Your shadows are only slightly more defined from one to the next.

If you're looking to be a wildly accomplished and precise gaffer and you are OCD by nature, I suppose you could be this discriminating, but even then?  Debatable.  In fact, it might be a liability on set, depending on the production you're doing. 

Personally, if I had crew fretting about lighting issues and THIS was the thing they were worried about, I'd be, like, yeah, I'm not going to be able to work with anyone that precious ... I don't know ... ain't too many narratives I've ever done wherein I'd be upset about this technical result if t was the look I wanted.

I'd be much more worried about the storytelling, the acting.  Heck, even the craft services table (seriously, gotta keep the crew happy) than this lighting difference.

[FHDcrew]

1 hour ago, fuzzynormal said:

Maybe it's just me and my background as a doc guy, but you're being incredibly particular there as the two shots are pretty similar.  Your shadows are only slightly more defined from one to the next.

If you're looking to be a wildly accomplished and precise gaffer and you are OCD by nature, I suppose you could be this discriminating, but even then?  Debatable.  In fact, it might be a liability on set, depending on the production you're doing. 

Personally, if I had crew fretting about lighting issues and THIS was the thing they were worried about, I'd be, like, yeah, I'm not going to be able to work with anyone that precious ... I don't know ... ain't too many narratives I've ever done wherein I'd be upset about this technical result if t was the look I wanted.

I'd be much more worried about the storytelling, the acting.  Heck, even the craft services table (seriously, gotta keep the crew happy) than this lighting difference.

Thanks for the reality check that was honestly good to hear 😂 

[MurtlandPhoto]

7 hours ago, fuzzynormal said:

Maybe it's just me and my background as a doc guy, but you're being incredibly particular there as the two shots are pretty similar.  Your shadows are only slightly more defined from one to the next.

If you're looking to be a wildly accomplished and precise gaffer and you are OCD by nature, I suppose you could be this discriminating, but even then?  Debatable.  In fact, it might be a liability on set, depending on the production you're doing. 

Personally, if I had crew fretting about lighting issues and THIS was the thing they were worried about, I'd be, like, yeah, I'm not going to be able to work with anyone that precious ... I don't know ... ain't too many narratives I've ever done wherein I'd be upset about this technical result if t was the look I wanted.

I'd be much more worried about the storytelling, the acting.  Heck, even the craft services table (seriously, gotta keep the crew happy) than this lighting difference.

Agreed. I got lost in the details on my first set as DoP. The director set me straight really quick and things were better for it.