JD Hartman

Clamp like a maffer or Cardellini. Equipment like "wall spreaders" and their kin is profusely explained and their uses described in Uva's Grip book. You really should get yourself a copy. It covers many of the things, that film schools don't teach.

It would require a little more research, but I'm fairly sure the igniter in a 575w head would not be able to strike a 1.2 HMI globe. There are replacement HMI igniters that are adjustable. You probably would also have focus problems plus additional heat issues. Why would you want to do this?

I don't think the resulting light output would be "pleasing", for the same reason that output from 10" 1k fresnel is bettter than that of a 7" 1k.

On most fixtures, open face, fresnel, etc., the yoke only lock on one side. The other side has a pivot bolt it set to provide some friction or tension so that the head doesn't immediately fall forward when the lock is loosened. You could replace the bolt with a matching locking handle and tighten it down when using a Chimera.

JD,

 

What you just described is the process for old-fashioned bumper chrome...the government prohibits that, and while there are some platers still doing it in a covert manner for those who restore old vehicles, plating today must conform to AQMD and EPA rules and regulations, which admittedly are lesser in quality to the old-school chrome. C'est la vie. :)

I wasn't aware of that. Yes there are still platers that do that type of work. Very few plating shops of any kind exist today, due to EPA regulations. From my experience in the fastener industry, I'd have to say that yellow zinc would be the most weather resistant finish obtainable today.

You could go to your nearest fabric store and buy a couple yards of artificial silk. If you're luckly they will have it in a wide width, otherwise someone has some sewing to do.

Chrome plating is fine, when its "tripple chrome plate", which is the proper way to achive a long lasting chrome finish. First a layer of copper, then a second layer of nickle and finally a layer of chrome. Does MSE or any of the grip companies do this? The protective plating is moot when it a welded item like a pigeon, as the ones I've seen are welded together after the plating process, which burns through the plating.

Great metaphor David! I can't think of any better way of putting it.

 

But yes. It is all about the story folks! Story, story, story, story! Without it, you're lost. You gotta ask yourself, "why am I a cinematographer? Why do I want to make films?" If the answer is that you want to change a persons emotion through light and shadows, then you know that you HAVE to read the script. Memorize the script(I'm exaggerating a bit here). You've got to dive into that story and live it for yourself. That's the only way you're going to take that story and put it up there on the screen and tell it visually the way the writer told it through written word. It's our art. Our art is not just recording any old pretty image onto the camera; we are the story tellers. We're the ones that will create the emotion. And so I stress again(as do many of the others), story, story, story! Read the story, and pull out the hidden qualities it holds for you. Have fun! :)

Bingo! David and John. What feeling or emotions does the script convey? This seems to be something that is missed in so many film school classes. Maybe that is why I see so student films that are just lit with softlight in every scene. If there are any shadows present in a shot, it's purely by accident.

A 1k with a Chimera softbox draws the same current as a 1k zip softlight. I prefer the Mole or ARRI zips over a chimera as they don't take up as much space on location and setup time is almost nil. In my opinion an eggcrate is a manditory accessory with either type of softlight.

I'm a G&E as well and own my own equipment. Feel free to contact me and we can discuss the look of your shoot and the equipment needs.

JD

You probably want full CTB on your key light and then maybe like half and quarter on your practicals.

If your going to put full CTB on any tungsten light, you're going to lose about 2/3 of its output. If this is your "key", the ouput will be about the same as having it turned off. Daylight isn't consistantly the color temperature throught the day. Mixed color temp. is okay as long as you like the look. If the light from the windows isn't overpowering the artifical light inside, you'll probably be fine with 1/2 CTB. Put some ND on the windows, use the curtains or sheers to filter down the intensity of the sun.

American!

 

Robert is right on about the thrust bearings...

Not sure I have an heads by American. I can comment on their quality, but I will say that if your paying extra for thrust bearing with your heads, be certain that what is provided is an actual thrust bearing, not just a cheap radial bearing like those found on Avenger heads. I'm not a big fan of the stainless steel trend in stands and grip arms. How many times do you set up in the rain? Anything wrong with giving your wet equipment a wipedown when you wrap? Stainless steel (depending on the alloy) can be both heavier and weaker than its mild steel counterpart. I'd rather have steel hardware that is yellow zinc plated like American's grip gear.

How to light a very small bathroom with a child in it? no windows...ending scene with tha little boy in the bath crying...

2m tall/1.50m/1m bathroom sizes

Wow, that's a tiny bathroom!! 6.6 feet x 4.8 feet x 3' 3"?? How do you fit a bathtub, a toilet and a sink in there?

See this thread: http://www.cinematography.com/index.php?showtopic=38565 Use the search function, "dryer outlet", "dryer plug", this question has been answered many times before.

The real answer is, if you have to ask, you don't have a basic grasp of electricity and shouldn't be doing this. Don't depend on some rental house guy to substitute for an experienced set electrician. Read your Harry Box, Set Lighting Technicians Handbook.

Not to hijack the thread but has anyone used a propane genny?

 

I have been seeing small ones at Fred Meyers lately and I think they are new. The one I saw was 3500 watt and maybe 300-400 bucks. I don't know much about them but it seems like they would be super quiet, and they might be xstall sync.

 

Or more accurately I think they might not have an alternator, but rather a generator (DC) that goes to a high-watt inverter. At least thats what it looked like, it had 12v full rated load out, and it didn't seem like a transformer/rectifier assembly (why have 12v out unless thats what the generator produces natively) If it is native 12v then the 120v AC lines would almost certainly be xstal clocked, and work with magnetic ballasts?

Not quiter as already stated, but cleaner. Cleaner in a way that a propane or natural gas operated generator will accumulate less wear on the engine components. Onan has always advocated NG for its installed backup generators. We just set up a used 1958/59 Onan 25KW generator, run by a Ford straight 6 industrial engine. Over 500 hours on the clock and the factory hone marks are still visible on the cylinder walls. You might want to look at the Onan inverter generators as well.

A big "commercial outlet" (in the U.S.A.) like those for a dryer, electric range or industrial equipment might be 220vac, three wire, containing only two "hot" wires and a ground. If you are trying to split a 220 circuit into two 110vac circuits, you need a neutral conductor as well.

This company: http://www.herbach.com/Merchant2/merchant....;Store_Code=HAR

Others things as well. Such as: where will holding be; craft services; bathrooms; HMW; staging areas for camera, sound, G&E; elevator access; etc.

I use the $1 orange ones from the "dollar stores". Haven't had an issues with them. Some people on set seem to feel that just because I have a dozen or so in with the electrical gear, they can keep one or two.

If you want black ones, Lex products sell them, about $4 each.

You need to supply more information and/or get more info from the genny rental company. 30kva is 30,000 watts. Is that 30,000 peak? How many watts continuous? Probably more than enough for your lighting load. The issue is how to get the power from the generator to the shoot(distribution). The 20a outlet on the generator is there as a convenience. It's not mean to supply much of the generators power, about 4800 watts. You really need to know what other type of connectors (lugs, camlocks) the generator has. Then you can rent a suitable distribution package. If the generator does not have an electronic governor, you may have flicker problems with the HMI(s).

Need to project a "rain drop" effect onto open umbrellas. No possibility of using sprinklers, rain bars or real water at this location. Equipment available: various Tunsten Fresnels; open face, gobo rotators, color scrollers. Any suggestions?

You could always use a beam projector like the Pana or the Reich Vogel. Only downside is they run on 24vac so they a heavy stepdown transformer.

You need the pinout of the ballast and the head. Different manufacturers (in many cases) used different pin for power, strike, safety interlock, etc.

Here: http://www.cinematography.com/index.php?sh...&hl=flicker If the fixtures have electronic ballasts, you'll probably be fine. Shoot some test footage and see what results.

You profile indicates "Student". What did your instructors advise?

Look at the lampholder contacts for signs of burning, arcing, pitting. Examine the contacts of the burnt out globes as well. Are you having similar problems with all Omni(s) or just one? One lamp which doesn't seat fully will cause damage to the lampholder and the contacts of the globe. This damaged lampholder, will now damage each globe installed.

Your profile indicates "film Student". What have you instructors talked about in regard to lighting the "wide", "medium", "cu"?