peter kantor

are there any non-american grips (or sparks) that wouldn't mind describing how you position the lolipops (4 1/2" grip heads) when setting up an overhead frame. thank you

I've seen ten 12Volt car batteries wired together in series to create a 120V source of D.C., which won't help you with these lights because they require A.C. Running power from a car will drain your car batterry fast unless you keep the vehicle running constantly and even then, you will probably damage the wiring harness becuase it is not designed to handle that kind of current flow. I think your best approach will be to rent/ or buy a small generator which are fairly inexpensive.

Ooops! I did forget to mention the N.D. gels. I didn't mention diffusion because it is not a gel. That would make three categories of gels.

there are two categories; 1) color corrective gels- used to match/ balance light sources in filmmaking 2) theatrical (party) gels- used simply to add color (technically it removes color) for desired "mood" these colored plastic film sheets are placed in front of lights, windows, etc. to change the color of the light.

I'm talking about tubes that read green (4300K), not Kinos or Optima 32's or Chroma 50's. Is it sometimes a two step process or what? For example, minus green will bring the color temperture to 3200K.. making a match with tungsten lights. But if the goal was to get them to match HMI's, would I still use minus green in combination to CTB? Or simply CTB alone? It seems that too many footcandles would be lost with more than one gel. This is assuming there was no color temperature meter on set.

good point made about the actual bolt size.. referencing the mechanical trades pocket manual; 3rd edition 3/4"grade 8 bolts require 296 foot pounds torque 5/8"grade 8 bolts require 180 foot pounds torque Note: these differ from the values listed in the PDF Link mentioned above.

i believe that would be 296 foot pounds torque IF you needed it to hold up to a stress of 150,000 psi. this is overrating in most cases.

ok, as far as the flag goes.. it does in fact get set with the "pretty side towards the scene" thanks for all the responses

uva's book does not show the tag ..perhaps he like you does not know?

here's what i've learned magnetic ballast contain a copper coil so tend to be heavier. Flicker free ballast achieve the electronic equivalent using solid state devices which weigh much less. there are frame rates that are safe to shoot with, and others that are not with a magnetic ballast. they have less buttons/controls on them ..usually just the ignite(red) off(black) and a circuit breaker electronic ballasts usually have a silent mode and a flicker-free mode. thus flicker-free makes some noise and silent mode does not ensure flicker-free. they may have a type of dimmer other settings and many models have a detachable power cable (the male edison ended power cable) since your medium is digital, you can use a monitor in good faith because wysiwyg

thank you, thank you, thank you all, and here's the last one.. the fuzzy side of the duvetyne solid toward the lamp or away? It has to do with the the absorbancy of the fuzzy side and the remote chance that light can bounce off the tag (especially matthews tags which are white) and into an unwanted area. Does anyone know with certainty? because I have heard conflicting information in the field is why I ask here. It seems more appropiate to ask nerdish (or pesty) questions here than on set because they're not safety related. Rest asured there is no monetary displacment at stake here. best regards kantor

hi, sorry for not following protocol, will make adjustments peter kantor I.A.T.S.E. Local 52 studio mechanics

the size of the diffusion frame needs to be larger than the bounce, right? for example: 10K bounced off of an 8x8 griflon needs to be diffused through a frame that is LARGER than 8x8

are there any seasoned G&E out there? gel first then diffusion, or diffusion then gel.. I know that I was corrected on this once and given a plausable reason, but I don't remember what! do you really think beaver board comes from a sexual "position"? I'll check with matthews on the 90 degree pin question

no test, I enjoy the trivia behind the gear that I use

you just need to know the gear by english name, experience is the important factor here. I can offer you a job working with the gear so that you can become confident working with english speaking crews. the key here is knowing how to use the gear over knowing its name in another language

Does anyone know .. if the furniture clamp adapter is also called 90 degree pin (if so what part of the world?) if the math boom is known by a different name, baby boom perhaps? where the term beaver board for a pigeon on a pancake originated? If diffusion goes after or before the gel on the barndoors and why any specific terms for effect created on light being cast i.e.;topper, bottomer, sider, others?

what do you mean by graded and ungraded?

thanks, great insights! another ques--what f-stop to you consider ideal to shoot at?

besides the ability to soften light, control the various intensities with wire and nets, creating desired shadow patterns, and introducing atmosphere to the equation.. are there any other techniques that you look for in a gaffer? are there terms and expressions such as "thow a slash of light" " just a tad" "a scosh more" "give this a top chop" that are used all the time and part of the gaffers everyday language? ..also does lamp left refer to the left side if one is behind the light? thanks much for responses, many of you are very generous!

Would anyone please comment on how a light should be offered to a D.P. For example, doesn't it make sense to turn on the light in full spot (because 1. the globe is furthest away from the lens which could crack in colder temperatures and 2. it is easier to aim while in spot) However don't D.P.'s like to see their lights in full flood? Also, do we want to switch on and off the light to check it's effect in a scene.. or is it better to leave the light on and pan the light off the scene?