JD Hartman

I've been in homes that had many 20a circuits. I guess it depends on how cheap the builder was. In any case a 15a breaker isn't going to trip at exactly 15amps. Where do you see 277v? In factories and commercial buildings, typically for lighting. Where did I run into 208v? In a school, where the DP went on the tech. scout and I wasn't invited. It was a good thing that the budget didn't cover the 6k HMIs she wanted, because I would have had no way to power them from the tie-in.

Hal Smith said, "Building a distro box that plugs into a dryer or range outlet is a good gambit - but if you're not electrically knowledgeable let a real gaffer or electician build it for you." I've got to disagree with that idea and I know that these "converters" are already being sold. A 220 range or Dryer outlet will have two hots and a ground, but no Neutral. While the neutral and the ground on most branch circiuts are connected to the same buss bar in the panel, the NEC espressly forbids using the ground as a current carrying conductor. It is only to be used as an equipment ground. Doing what you suggest is a bad practice. However in many homes, you will find that the waser and dryer have their own dedicated circuit. One more source of power for your lights. This is usually true of the refrigerator and the dishwasher as well. As far as gounded recepticals, buy a plug in outlet tester, about $10 (made by Ideal, Greenlee, other), to see that receticals are properly wired and grounded. Always have some ground lift adapters available, pig noses, and if the home has fuses, be sure to bring spares of the correct amperage and type. My ideas and those of the others, barely scratch the surface of the things to think about and be prepared for. Many things are learned through experience.

I've found that in the USA, a 15 ampere breaker will carry a 2000 watt fixture without tripping, most of the time. One of the first things to do on location, is locate the breaker panel or panels and make certain that you have access (covers unlocked). Access the available power (size in amps of the panel, single or 3 phase). The voltage available will dictate what lighting fixtures can be used. If the panel is 120/208v or 120/277v, a 6k HMI isn't going to strike if the ballast reguires a 220 volt input (or be damaged on 277 volts). A mistake like that, can make for a very bad first day of shooting.

Please define the classic method? Whay kind of adhesive is used?

Point well taken. Budgeting and production costs, are areas where my experience is lacking.

What is the definitive answer on these older HMI Pars with the sealed beam globes. I recall an old thread where someone said they had retrofitted a fixture to use a relector and a single ended lamp. But I can't seem to locate it. Old ARRI 1.2 Pars, buy them, or avoid them?

Part of my post relates to paying a decent rate and not abusing people by asking them to work for free, for the sake of the art. If you aren't 21 year old, and still living with your parents, then $200 a day isn't a decent rate.

What you say is very true, Bob and Dave. But it also true that you get what you pay for. The gaffer, grip or spark, who agrees to accept a low day rate, could leave you up the creek When you find they can't do their job, or are very slow and every setup or lighting change takes an eternity, what do you do then? When the 12 hour day expands out to 16 and you still aren't getting your shots?

Perhaps a little off topic, but how can a production (non-union) offer $200/day for the Gaffer or Key Grip positions and expect to get experienced people. Even worse are the ones that want "Gaffer with light kit(s)" or "Key Grip with own equipment"? If you worked 5 days a week, 50 weeks a year, that isn't a great deal of money. Once you subtract federal and state taxes and 13% social security, medical benefits, there isn't much left.

I don't have the complete answer, but colored gels, a.k.a. party gels, tend to absorb a lot of light. For example, a 1K EGT globe emits 28,500 lumens. A Rosco #66, Cool Blue gel will transmit 67% of the light energy. A little over 19,000 lumens will be available to light your scene. A #367, Slate Blue gel will transmit only 20%, leaving you with only 5,700 lumens. Depending on how wide the shot is and the transmission factor of the gel you select, you may need multiple, higher wattage fixtures to give you the exposure you need. Get your self some gel swatchbooks, available at your supplier or direct from Rosco, Lee, GAM on their websites.

In a previous post, it sounded like the safety of the equipment was your main concern. After all, what good is exposing your crew to ten lifetimes (or more?) the maximum "safe" radiation exposure, if your equipment and film are ruined by Beta or Gamma radiation? Just because the town is 3km away, doesn't mean it is any less dangerous. Radioactive particles were carried on the prevailing wind. That's why detection equipment in Scandanavia recorded the event before the former USSR admitted having an accident. If you move ahead with your plans and decide to have a location scout, don't forget to pack your lead-lined underwear. And have everyone sign a waiver, absolving you from any future liability. Because there will be a price to pay for you film and the crew will pay it with their lives. Even the "Atomic Man", a US worker who lived for many years in an accident contaminated him, eventually died from radiation related illneses. It isn't a pleasant way to go.

As a Gaffer and sometimes Electric, I do like to get a look in the monitor. Sometimes, I'll even steal a peak through the camera. Feed you crew well. Don't rent a $5000 camera and grip package and then tell them: there is no money for anything but pizza everyday.

The 1000w globe will draw half as many amps on 220v as it does on 110 volts. You can calucate the exact number: watts/volts = amperes, 1000/220=4.54 amps. Regarding the color coding in the cord: black=hot; white= neutral; green=ground.

I'm looking for some suggestion on what gels to use in a music video shoot. The DP hasn't made any lighting suggestion other than: doesn't want it overly bright; wants various colored pools of light in the scene. The lead in the MV will be walking around the set (bar), lipsyncing to his pre-recorded track. I have a number of blue and red "party gels", but the rest of my kit consists of the typical CTB, CTO, ND, diffusion, minus green, etc. Any suggestions for greens, oranges or yellows? The location also contains many neon bar signs that are overly bright. I was just going to ND some of them and turn others off. Any other ideas?

If are using a gel frame, I agree the life of the gel is very finite. But if clipped to the outer edge of the bardboor, the gel is away from the heat and its life is greatly exteneded. Another plus is it doesn't require any accurate cutting.

The most efficient thing would be to preserve your gel cuts in the size you received them in. As soon as you cut them down, you'll find you have the need for a larger sheet to cover a frame, outside of barn doors, window, etc. Just label them with a sharpie and when you do cut off a piece, be sure you label it as well. Mailing tubes cut to various lengths, make it easier to keep them organized.

The body of the Lowel light is small and so is the on/off switch, hich is mounted on the body. Not a good combination if you are fond of the skin on your hands. Not particularly rugged, but the Lowel DP open face 1k, is not bad on a bang for the buck level.

A shot of your redheads showing the asbestos wiring along with a shot of modern high temp wire would be very helpful to those less knowledgable. It would also help to say that asbestos fibers are only a hazzard when inhaled. Asbestos if left undisturbed, does not present a heath hazzard. I'm sure that at one time all the manufacturers: Altman; Strand; Century; Kliegle; Mole and even ARRI, used asbestos covered wire. It was the best product available at the time.

May have.... Mine didn't. Modern high-temp wiring also has a cloth like appearance. Old Mole equipment could have asbestos covered wire in it also. It's fine to share a word of caution, but since you haven't seen them, you're a bit "over the top" As for the globes, they use a modern Tungsten CYX. Regarding the reflectors, if they are dented or damaged beyond hope, Pyramid will do everything to set things straight. Old and heavy, but a big lens with a wide beam spread. Not as impressive as a shiny new ARRI fresnel, but not $600 either.

If you are looking at the older Bardwell and McAllister 2Ks, the 12" fresnels, they work great. A little heavy, as they are all steel, but very well made. The newer lines of B&M lights are a little more refined, part steel, part aluminum, similar to the newer Mole.

Combining Gaffer/Grip/Electric into one role, makes for a very tired person at the end of the day. It is a little unrealistic to combine what, more often than not, are jobs that are very phyically demanding. Giving the Gaffer a PA who has no knowledge of the department, doesn't help either. You spend more time explaining what you need and how to use it, than you would if you just did the job yourself.

The company (or one like it) was displaying and selling them at last years DV Expo in New York. They reflector is like a salad bowl, spun from thin aluminum. The admitted that it would not survive in a grip truck, unless disassembled and protected in some type of case (of your own design).

Saw a bunch of used fixtures at a dealer. Here is a link to an image of one: http://www.strandarchive.co.uk/lanterns/beamlite.html I'd consider buying a few and I think I have an application for them right now, but if globes are expensive or impossible to find, then I'd have a bunch of boat anchors. The owner bought them on speculation at an auction and doesn't know what they are called or used for. Will these do anything that a well maintained and focused ellipsoidal won't?

If there is a lamppost near the driveway, then one solution would be to augment that souce from overhead. A 2k frenel would give you a nice pool of light for the talent to walk through. Or use the 2K as light from an unseen streetlight. I'd replace the tungsten globe in the porch light with a halogen (try 75w or 100w) and put diffusion on the inside of the fixture, so you don't get blown out. You will have to light the inside of the car too, or it will look very black. A couple of cheap under-cabinet, 110v flourescents gelled with 1/2 CTO might look okay. Taped to the sun visors, sitting on the open glove box door, etc.

No Mark, you didn't "open a can of worms". Everyone is here to exchange information. There is a fine line that you cross, where the value of what you build, exceeds the the time you spent on it. I always read the, "Build a Daylight Balanced Fluorescent, Just like a Kino" articles. One day a clever person will finally pull together all the right pieces and all of us will have 4 bank Kino look-a-likes in our kit. The lamps are available (sources other than Kino), the lamp holders and wiring harnesses already exist (thanks to our friends in the Marine aquarium hobby), the reflectors/housing (corrugated plastic from the sign industry), copper wire for hinges, but the ballast, electronic ballasts abound, but the slick looking Kino packaging stymies me (I don't do sheet metal work). Sorry for the delay in photos, parts lists, but the week ended badly, damaged equipment and requests for favors: Can you wire an Edison on this? (A Strand-Century, Leko that is older than me); Can you find me some globes for it? I apologize to everyone here, for veering off topic into anything remotely political in my last post.