John Draus

Wondering if there is a recommended shutter angle or other tip for shooting PAL 50p at industrial locations in the US to avoid flicker from location fluorescents?

Wondering if there is a recommended shutter angle or other tip for shooting PAL 50p at industrial locations in the US to avoid flicker from location fluorescents?

Well, we shot yesterday and everything turned out fine. They shot at 1000fps, not sure what shutter speed, using a MEC camera, not sure of the model. using a 1200HMI PAR w/ electronic ballast they shot at T3.7. If there was any "shimmering" or "arc wander" it was not too disturbing, at least not on the laptop window. No complaints from the client anyway. Had to put a spot lens on the 1200. to give them any depth of field. But, all's well that ends well.

Hi all, Thanks for all the input. I'm working as the gaffer on this shoot and I forwarded the info on arc wander to the production Mgr that hired me. I'm not sure what they are thinking, who the DP is and what size their shots are, but it sounds like a large shot to me. All they are asking for light wise are a couple of HMI's and some kinos. They originally asked for 1200 HMIs but are thinking of using 575s instead. We are shooting in a warehouse. The scout pics I saw looked like sodium vapor lights or maybe metal halide. Sounds like it's going to be a mess.

I don't know, yet. The PM who called me about supplying the lighting gear didn't know. They requested 2 1200 HMI's. I'm not sure how much the DP knows and I have no high speed experience beyond 60fps. I only found one relevant post when I searched the forum and they mentioned that there could be so issues.

Got a shoot coming up where they plan to shoot 2000fps video. Any problem with the light from 1200 watt Arri HMI's with electronic ballasts? Any thing else I should be aware of? Thanks.

We usually rate it at 250-320, It is a day beach scene, alot of sky and some palm trees. I would have thought front light for the day scene, but the kodak, duratrans site says they are designed to be backlit, as in a light box. In a previous shoot at he same studio they back lit a city day skyline duratrans with 3 5K skypans and you could see a definite hot spot in the center of the pattern. There is no room to back them off so I thought, use more (7) 2K's spaced closer than the 3 5Ks. Do you know what he lumen output would be for a 2K and 5K skypan? I can't find it in the Harry Box book. I'd like to compare them to a 2K Arrilite.

Thanks Tim, We are shooting HD at around a T4. The set is 45 feet wide and the trans is about 8ft back from that. there are 3 large 7ft wide by 10ft high windows in the set that we see the trans through. do you think 6-7 2K skypans would do it?

ANy suggestions for the best way to light a 14ft by 40ft duratrans? Three 5k skypans evenly spaced (in line with the windows in the set that we will see it through) was suggested. Would 6-7 blonds work, to make circuiting easier and avoid a tie-in? Or any other suggestions.

Thanks, looks like either case would work or they may just end up renting electronic ballasts to be safe.

Would this 150deg shutter also work for Magnetic ballast HMI's when shooting 16mm at 25fps in a 60htz setting?

Any suggestions as to what might be the correct shutter angle to remove flicker when shooting with Magnetic ballast HMIs at 25fps in a 60 htz setting (US)?