JD Hartman

I'd suggest that if you must own your lights, start out by buying a few used ones. As long as you buy a known name (ARRI, Mole, etc.) you should always be able to get replacement parts. I see that you are on the west coast, there should be a number of rental houses, re-sellers, etc., that can equip you with some reliable equipment. Just explain what you are loooking to do and be open to ideas when asking for guidence. You might try Pyramid Films.

I need some suggestion for storing my open end nets and silks safely. I had a PA ruin two of them on my last job. For lack of a better idea, I had them in a cardboard sleeve, like an artists portfolio.

FCM, the same type of bulb is used in the Redhead, Mole 1K broad lights, etc. The FCM/HIR is a direct replacemet for the FCM, slightly higher color temp, same globe life. Yes, PAR64 cans, like the MolePar or rock'n roll cans. In that application, GE claims a further refinement in the reflective coating, giving even greater efficiency.

Candle flames don't flicker, fires flicker. Candle flames might move or dance a little in a breeze or draft, but that is about it.

GE's product has information about the HIR type lamps in the PAR download. According to them, the interior coating reflects the IR back towards the filament, requiring less power to burn the lamp. In the case of the PAR64(s) globes, they incorporate an additional development, making them even more efficient.

Matt, what is the brand(s) of the ballast? Are they magnetic or electronic? What problems have been identified and repaired? JD

Thanks for all the suggestions. I was just at Lighthouse yesterday and used the opportunity to look over their ballasts. Didn't see one that matched this boat anchor and I didn't have the time to ask if they had one stuck off in a corner.

Looking for information on an old magnetic ballast I picked up. I contacted ARRI at their repair center, but they won't provide any information. It is a 1.2kw, marked type B1.2

What is it?? It is actually a small dowel, smaller in diameter than a pencil and about 5 inches long. It is made from the wood of a citrus tree, the orange. Very hard, pointed at one end, often use to clean electrical contacts, was a common tool in the Telco industry.

I've seen it, but never used it myself or held it in my own hands. So I'm a little a loss for the part you are describing. Is is a flat disc, much like a washer, which has ball bearing that rotate and extend above and below its surface? If so, that is a simple thrust washer or axial bearing. They can be purchased at any industrial or mill supply house. McMaster Carr, MSC, J&L, Grainger, etc. Maybe $8 depending on the size.

Do you have any C16J's?

I'd have to agree with the suggestion to use shutters in front of the light source. Simple solutions usually work out the best. The old style carbon rod, lightning units were cabled to an arc welder (large DC power source). Elecric arcs produce ultra violet radiation in large quantites, not something you want near the talent or the crew. Welders call the resulting cornea burn, "sand in the eyes". Its temporary effect can last for up to 24 hours. Not pleasant.

There is a mention of HPL(s) on this thread: http://www.cinematography.com/forum2004/in...showtopic=20418

Part of succeeding is being resourceful and flexible. If you shoot the master and the light changes before you are done with the CUs, wrap production until another favorable day. But with no crew, not even friends or family to lend a hand, it makes things much more difficult. No money to rent a large overhead? Consider using the frame for a shade canopy and some muslin. But you still need some extra people to wrestle the frame and keep thing safe. No sandbags? Try 5 gallon pails filled with concrete or water (7.? pounds per gal x 4 gals=30lbs). Free pails can be found behind most resaurants (ask first) or anyplace they are doing sheetrock. What kind of grip equipment did Thomas Edison have when he shot the first film?

ACl's are often used in traveling rock shows. They are low-voltage lamps, so four of them are wired in series and permanently hung from one lamp bar. You can buy them new or as surplus from any company that does shows, BML, Phase-4, etc.

This begs the obvious answer, "The TRICO company of course." But does any have the city/state, web address of the company that make the clamps used for electric tie-ins? I probably could buy them through Barbizon, but I've always been a cut out the middle-man kind of guy. Every set of tie-in tails I have encountered has always been so well used, the label was un-readable. You get a million hit on the 'net with TRICO.

A 12/3 cable isn't rated for that kind of amperage, you need to use 10 gauge conductors. Using a "Hospital Grade" connector is irrelevant to the task, the rating relates to the material in the connector and the amount of force required to pull it from a mating receptical. If the ballast will auto-adjust to the line voltage, you may be able to power it from a 220v range outlet, or if the location has an electric clothes dryer, the 220v dryer outlet.

Looks to be an old studio still photo lamp. The Mogul base socket, the wide flat reflector dish, two pins that may have held a secondary reflector or a diffuser. Might not be the correct bulb either. Unless someone recognises the M A Co logo, its make will probably remain a mystery. Nice curiosity piece.

I am in the process of building my own dolly track. I'm going to use T6061 Auminum tubing instead of steel or stainless to conserve on weight. I'm not concerned with the softness of the aluminum vs. steel track as it will only be used on our productions. Would a .25 inch wall thickness be stiff enough (same as Speedrail), or should I consult a Mechanical Engineering, Strength of Material text?

As was previously posted, "you can get something for nothing." Why were you hell bent on the compact flo route? The cheap ones done list the CRI on the package and the ones with a high CRI aren't cheap, so I don't really see the savings or what you gain.

I only posted the information, because in another thread, a few forum members seemed very interested in them. I have no intention of buying one, the generators in them are very loud. The specs are for a unit manufactered by Wacker. As for CRI, that would depend to a degree on what brand bulbs.

How long a globe lasts can depend on the construction of filament, its size in watts and the design of the fixture. Every manufacturer rates their lamps in average number of hours. I've had 150w ESP/ETC globes in a 3" fresnel, sometimes die after a day or two of shooting. At the other extreme, my 1000w EGT globes (1k fresnel) are still going strong after a year. I'm guessing that the ventilation is better in the 1k fixture and that is attributing to longer globe life.

This was discussed in an old thread. Found some specifications on the units: Wacker LTC 4L Light Tower LTC 4L Light Tower Features: ? Fully equipped highway-ready trailer offers combination pintle/ball hitch, 13-inch tires, four tie-downs, DOT lighting, and chains. ? Reliable 1800 rpm diesel engine offers glow plug preheat system for long service life and easier cold weather starting. Automatic engine shutdown protects the engine from damage due to low oil pressure and high coolant temperature. ? A lockable, weather protected, powder-coated steel enclosure protects components from the elements. Zinc/dichromate treated mast and lamp mounted bar provide superior corrosion resistance. LTC 4L Light Tower Complete Specifications (Compare Specifications with Similar Equipment) Horsepower (HP) 12.1 Engine Type Lombardini Diesel Number of Lamps 4 Power (Watts) 60 HZ / 6 KW Fuel Tank Capacity (Gal) 30 Max Tower Height 30 Feet Lamp Type Metal Halide Weight 1594 lb Dimension 63 X 173 X 64 in

The problem is the size of the generator. A 3.5kw generator supplies 3500 watts peak output for a brief time before the alternator overheats. You needed to choose the generator by its continuous load rating, which may have been 1000 watts less. Both ratings, surge watts/continuous watts, should have been on a plate somewhere on the generator.

I don't understand why a producer wouldn't want the DP's views on the script. If you have agreed to work on the project, anything you say could only make it better. I also can see your point about being silent or risk being replaced. If it comes down to working and being silent or being correct, I agree with your choice of silence. On a short that I worked on the art department was tasked with simulating handgun hits on metal award plaques. He and the producers decided that the plaque should fly into pieces when hit. They were going to saw them up, puzzle piece fashion. While I'm no marksman, I have fired a number of weapons. I just had to tell the "experts", that it just doesn't happen that way. I suppose they should have budgeted for an armorer or a special effects person.