Matt Workman

DM: I do like the idea of using maybe 4x 6k spacelites without the silks and keeping them in a cluster. I'm still not sure about the tangible difference between a large continuous toplight versus a bunch of smaller ones.

Fishers lights and balloons are probably out of budget but I am interested in trying out some of the spherical 4k balloon lights. I saw someone using them on a commercial locally recently.

*something simliar but I want to blend them into one source.

JM: Yeah I'm also thinking about setting up a upside down booklite like this rig.

*2x Rubys into ultrabounce then through grid or whatever

I've just started using smaller booklites like just one maxibrute->ultrabounce->1/4 grid but they are so weak I have to move them super close. When filling a 12x12 do most DP/Gaffers use Dinos or something? My next studio performance booklite I'm going to try two Maxis.

I appreciate the thoughts and suggestions.

Matt

Hey,

I have a video coming up that I really want to build a large skylight for. Super diffused, big, and bright.

The best ones I've seen are always completely skirted and mysterious. This is a set photo from a commercial Crash directed/DP'd. I'd love to build something like this.

What is the best way to fill the silk. I've used spacelites, 2k opens, etc. but is there a more universally accepted way of setting this up?

My gaffer recommended lots of nook lights, like a giant barger baglite but that is a ton of rigging for grip and electric. Something like a 8x8 square frame made from speed rail with 4 nooks by 4 nook grid, so 16,000w. Then duv skirt and full grid bottom. Maybe with a 12x12 light tools for shape.

Just thinking out loud, I want to get a good system for setting these up.

Thanks,

Matt

Thanks for the replies, they were very helpful. The Cine3 seems like the best future-proof purchase.

If I can ask, where did you purchase your Cine3 and how much was it? I'm having a little difficulty in my search.

Thanks again,

Matt

Hey,

I'm thinking about purchasing an Easy Rig for handheld work. I do a lot of music videos where 3-5 minute handheld shots are required.

I mainly shoot with the RED w/ Super Speeds and Cooke S4s. I'd guess the average weight is 30 lbs?

I'd also want to be able to operate with a 235 or 435, which are a little more ergonomic but still kind of heavy, for me anyway.

Does anyone have experience with the 2.5 versus the Cinema 3?

Thanks,

Matt

nope, but they are currently filming on my street... <_<

Thanks Tim & Kevin.

I'll keep you guys in mind, Chris/Andrew.

Matt

Hey,

Another question. I'm planning on renting the optimo 12x for some slow zoom in CU shots.

What focal lengths do you usually start and end for these kinds of shots? I'm thinking medium on a 80mm and zoom into an 100mm for the "inside the head" CU.

Thanks,

Matt

After some research and emailing I've found http://www.monsterlighting.com

The monster boxes and brieses seem like all I'd need. Damn, you guys in LA are spoiled. :lol:

Hi,

I have a 2 day music video in LA in April and I was hoping someone here could recommend a good g/e house. The producer and I are able to search through LA411 etc. but recommendations are always nice.

I'd also be interested in a good Gaffer with their own gear. So if you'd like to hook your friend up this would be a good one.

Its mainly a DAY EXT / INT mansion type video. So 12k/6k HMI, Kinos, Fisher11, and small tow generator.

Thanks,

Matt

cool. were you one of the camera ops or the LD?

My girlfriend does the stills for the NYC AOL Sessions and one of my friends is a lighting tech. :lol:

Also VideoStatic.com is a blog / new site for music videos.

If you are looking for AC work on music video you just need to keep a list of Artists/DPs you've worked with for your resume. Its a small world and there aren't many of them.

Matt

The pancake would be pretty easy to fashion a 4x4 gel around with clothespins onto the skirt.

I know Chimera makes color correction sheets for their softboxes but I'm not sure about the lanterns series. They definitely have a bobbinet/scrim to help control the output.

I'm mainly interested in how the 650w in a chimera lantern would differ from an array of 60w bulbs in a coop w/ diffusion, ala Woodylite / Custom Deakins rig.

what fixture are you putting in it?

The Chimera Triolet is good for tungsten. 5600k Joker is good for daylight. I'm actually thinking of buying a the Chimera 20" Lantern with the Triolet and use the 650w adapter.

I've used them for overhead night exteriors and they work pretty well.

Matt

The finnlights look really nice. Good find.

With the Woodylite and the Baglight is seems like this is the way people are going with multiple smaller tungsten lights. Arri/Mole just need to hop on board so the rest of us can rent them. I only know one place in NYC that rents Baglights.

I just read about Roger Deakins building custom oval shaped rigs made up of lots of 60/100w tungsten bulbs for overhead sources. Most of my jobs do not allow for custom anything.

I've never hired one of these but Chimera makes custom overhead softbox rigs. I'd assume they are expensive and do require time rigging to add the lighting fixtures. Though they look pretty well designed and modular.

http://www.chimeralighting.com/f2overhead.asp

I'm always interested in new lighting innovation. I guess its mainly in LED technology lately.

How do you feel about space balloons? I think the smaller ones are interesting.

Matt

Hi,

Yeah I thought about SkyPans, seems like the old school Hollywood way to go. I've only used the 5k skypans and I still don't have a good handle on how much light they put out, especially through a silk or light grid. Maybe 4x 10k skypans straight down would be safe.

How does a 5k skypan compare to an image80 in output and light quality? Kinos shift magenta and skypans shift orange due to off-white reflectors...

Also I was watching the BTS of a Benny Boom music video and they were using a 15x15' chimera looking softbox...and a briese. :blink: What kind of lamps are in these? I'd assume an array of pars/openface-bulbs or kino megatubes? Kind of like a mini fisher light.

Thanks,

Matt

Hi Guys,

HNY!

I've only shot with the Arri435 a couple of times but I've gotten pretty comfortable with it. One thing that I've seen more and more of is the DOP/OP operating the camera on a fluid head by holding the mag and body.

Does anyone know the reason for this technique?

Thanks,

Matt

Thanks. Its kind of an time intensive test to try out without actually knowing if its worth it.

As far as control, like keeping the background light off the foreground etc. I still like the idea of using skypans on the bg then bouncing the maxis through the overhead...but maybe its just in my head.

Thanks again though. :lol:

Matt

Panavision has a HUGE inventory and they could care less which of their products you rent. They aim to develop long-term relationships, sometimes giving massive discounts to earn your business and trust. And if something goes wrong - something breaks or a camera goes down, they have the support to get you a tech on set, help over the phone, or an entirely new camera package at the drop of a hat. This is what you get with a camera house.

I agree with Jaron. Are you still banned at REDuser? :P

2008 was my first official year out of college and it's been my best year financially and career wise. I was contacted by an agency in LA and several of the directors I work with have signed to agents/production companies and/or are being courted.

This year I've been lucky enough to shoot music videos in London, LA, Atlanta, Las Vegas, Miami, NYC, Rochester, Chicago, and Detroit for artists: Ludacris, Snoop Dogg, Busta Rhymes, Less Than Jake, Hey Monday, We The Kings, DJ Premier, Los Del Rio, and some other smaller artists. Two spots for MTV and some corporate stuff. Got to shoot super35mm, RED, and a bunch of 2/3" and 1/3" HD cameras.

I have 4-5 videos booked in January which I'm excited to shoot one with RED w/ Anamorphic lenses and one with a 35mm Panavision package.

This forum has been an amazing resource for me and it has bailed me out a few times when I've gotten in over my head.

Compared to guys working on union TV, features, and bigger commercials and music videos I still feel pretty green. I have my doubts with the economy and the state of the music industry but what can you do but keep working, actually it makes me work harder. :ph34r:

Happy Holidays CINE-FORUM,

Matt

Hey Guys,

I have a music video coming up that is going to be on a large white cyc, hopefully at least 30x30. I've lit a couple of these setups before mostly with 6k spacelites and then a big 10k or 9 light side source.

However on this video I wanted to try using a 20x20 overhead with Maxis or bounced Maxis coming straight down. I know for a car shot this would look much better as a reflection but will the 20x20 overhead look much different than just the ambient light made by a grid of spacelites?

Thanks,

Matt

New York is similar. I can get a RED body and RED accessories (EVF, LCD, HD, Cards, etc.) for $400-600. /day But then the lenses, mattebox, accesories, support, etc. are the expensive part and usually end up closer to $1000 - 2000 or more depending on the rental house.

Also, just like the when the HVX200 came out there is a demand for people with Mac Book Pros, FCP2.0, and an understanding of the newest unsupported HD workflow. :ph34r:

Happy Holidays!

Matt

I've had similar things happen with a gaffer I worked with <_< Key word "worked."

You should ask the client/producer his side of the story. I'd be surprised if he didn't offer it right away.

Matt

Hi David,

Thanks, that was a very interesting post. I have two questions:

1) When you are lighting for a night exterior with the Condor/scoop-lights/2ks/5k how many degrees are you lighting typically? Do you have to move the Condor rig for the reverse?

2) Why do you favor Joker Source 4s over HMI pars for your daylight interior bounce setups? I'd guess for control and small size?

I saw the Woody Lite featured in one of the past ICG mag issues, seems like a smaller Baglite w/ a dimmer. I didn't really take it too seriously until I saw you commend them.

I can't believe the studio would even think about the F23 seeing that its 2/3", but I guess the price tag was probably a big factor.

Great set photos, how else would I know to put a pirate flag on the Fly Swatter.

I'll have to pickup this DVD set when its out. :lol:

Matt

Hey,

After reading this post:

http://www.reduser.net/forum/showthread.ph...ight=anamorphic

B18 does record in Anamorphic mode at 1.2:1, which desqueezes to 2.4:1. Basically solving the whole import issue and on set desqueezing issue.

Mike Burton says that he can still transcode the B18 anamorphic footage into FCP, which if its true, that would be awesome.

Matt

Hey Matt,

Video looks very nice, from the stills. Be sure to post the final when its out. :lol:

I have a few questions:

I've heard b18 has some anamorphic features. Are you familiar with them?

If you shoot anamorphic on b16 or 17 you end up with a 4:1 file that you have to crop. Does B18 affect that?

Also, RC, RR, etc. don't import ANA 4k from B18 currently right? I suppose sticking with an older build is easiest for now.

The "Mike Burton" workflow you mentioned (here) is for RC, which sounds great. How long did it take you to reframe and export the footage from that workflow? I'd want to be in the room when that "pan and scan" is going on!

Most of my directors and editors use the FCP log and transfer route, but for an anamorphic shoot, trying to do the rescale of the 2k pro-res footage in FCP would be a big loss in quality. What do you think?

For the on set viewing, I understand that some monitors can desqueeze 2:1 but on top of that, how can I put a 2:35 framesafe over that? I know for a fact the label people would freak out looking at a weird aspect ratio video feed. You'd be looking at a 4:1 image with the desqueeze right? Ewww.

Thanks for the help.

Matt