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Phil Bradshaw

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Everything posted by Phil Bradshaw

  1. I'm considering purchasing the Miller 1827 Compass 15 tripod system. I've tested the head already with a HPX-170 and loved it. I'll be using it with a similar camera or HVX-200 most of the time. For the money, I thought it was a great deal for a quality tripod/head. Has anyone had any experience with this support system? Pros vs. cons? Thanks! Miller tripod system
  2. Looking for some suggestions and techniques for lighting a black (glossy) football helmet on a turntable. Shooting on the HVX-200, 720p 24PN. Would like to shoot in a studio, but we're preparing for alternative methods (white seamless, 1000h vellum, 8x8 and 12x12 solids). Any input is appreciated.
  3. Bob, Yes, the bulb is a bare, mogul based 2k. The lanterns are rigged on 16' speed rail menace arms, so the idea of rigging a frame on the arm would add more weight to the already obtrusive rig. I was thinking of a mason jar lamp scenario where a glass globe would fit over the bulb, and could handle the heat.
  4. I custom lit a large refrigerator using individual T12 florescent sockets wired to an electronic ballast rated for the appropriate wattage and load. I used zip cord (lamp cord) and #12 THHN. The wire was small enough that the art department could easily cover it, or I just taped it. If you want to get fancy, you can individually wire switches in line with each bulb to turn them on and off. You can use Kino bulbs or Philips makes Alto (3500K) and Colortone (5500K) bulbs.
  5. I've been working on a series of supermarket jobs where we use 3 or 4 of Chimera's medium and large pancake lanterns with a gel pack of 1/2 CTB and 1/4+ green. Although the gel method we are using is working, the prep involved is a little time consuming and the color output isn't exactly satisfying to the DP's needs. Any suggestions as to a quick method of gelling these lanterns, or a helpful device that could surround the bulb quickly with the gel pack?
  6. I understand there are other reasons for doing "safe" tie-ins, I was merely justifying the excuse for doing one on Phil Gerke's project he was speaking of.
  7. Robert Elswit. Phenomenal aesthetics, composition, and lighting.
  8. If you're not comfortable doing a tie-in, I would speak with members of the production and mention that doing a tie-in is not an option, for safety purposes. Tie-ins are merely used for saving money on a small budget production and they are not worth the risk of your own personal safety and the surrounding crew. Unless you can have a qualified electrician modify a stage box for you and make the proper connections in the panel, I would STRONGLY advise against trying to learn how to tie-in via this forum or any other website.
  9. Thank you everyone for your insightful knowledge. Because we work in the film business, I believe that we don't have the ability to "watch" a film or television show anymore without thinking about where the light source is coming from, or whether the camera was on a dolly or steadicam. As I mentioned before, I've been focusing on eye lights in pictures. I have always thought that a large, soft source provided the most appealing and appropriate eye light. I was definitely looking forward to reading about all of the different styles that professionals have. Thank you.
  10. I wanted to open up a discussion and encourage everyone to post their opinion concerning "eye lights". What is the best way, to achieve the most prominent eye light within an actors eyes? I have been steadily moving from grip/electric to shooting, and lately, I've really been paying attention to different shapes and sizes of eye lights in films and commercials and wanted to see the various styles that are out there.
  11. "Treating" can consist of several options to affect the light spilling within the window. Some common methods of treating windows are to use ND gels on the inside or outside of the window (depending on how much detail you will see), or to stretch a net on a frame or simply rig a 4x4 or 2x3 net on a stand outside of the window. If you don't have the luxury of these tools, see if you can use shears or adjust the existing blind to a level that's tolerable.
  12. Old ballasts also cause annoying sound issues and tend to overheat the fixture. Using available location fixtures can also open a can of worms for troubleshooting problems. The best thing is to do a camera test during pre-production with several varieties of bulbs and fixtures. This way you can place your bulk orders accordingly, and you know exactly what you're getting visually.
  13. The reason that I argued against the "drunken" method in the first place was that by doing what Michael has explained above, almost any C-stand will open without being obtrusive in any way. On set, you want to be fast, efficient, and safe. Without over-analyzing, opening a C-stand vertically greatly reduces your diameter for potential property or personal damage.
  14. If you have the option, I would meticulously scout the locations you will be shooting in. When you are dealing with several flourescent fixtures, you're bound to have a few ballasts that are old or starting to burn out. This will create pulsing in the lamps and a color temperature shift (which gets worse as the ballast starts to decay). Find out the ballast specs and have production purchase a few extra. As far as bulbs, Philips makes Colortone C50 bulbs that are rated at 5500k, and Alto bulbs rated at 3500k and 3000k. Also, test the breakers that the fixtures are on so that you will have flexibility when changing bulbs quickly without damaging the ballast. I always avoid "hot-swapping" flourescent bulbs whenever possible because the pins tend to arc against the metal in older fixtures, which can severely damage the ballast and cause injury.
  15. I agree with all of the C-stand suggestions, regarding leg placement, booming, and staging. I would also avoid the "drunken" C-stand technique. This is where you flip the stand upside down to open the legs. This is a sure way to hit someone walking by, damage the head, and, it looks unprofessional. If the legs are being stubborn, try grabbing another stand and work on the difficult one later.
  16. I was recently in a similar situation where I needed firelight, with limited resources. I ended up using a K5 socket with a 213 bulb, screwed to a pancake with a foamcore box built around the bulb (12"x12", black side of foamcore facing out). A 600w household dimmer sufficed, and a little 1/2 white diffusion and 1/4 CTS on the outside of the box. The DP determined the highs and lows of the light and we randomly "pulsed the dimmer". It looked great on the HDX 900!
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