Kevin Rasmussen

Thanks Hal, Walter, I just took a good look up there and there's no way I'm hanging even one light from that ceiling, the building is too old, visible cracks where the wire's are attached to the cement ceiling, and I'm not going to add 70 kgs of Kino, I've told them it's not an option. We're looking at re-bulbing Hal but I'm not sure these fixtures will be compatible, they've got a new version of "energy efficient" compact flourescent bulb in them and the head connectors look smaller than kino bulbs, they're brand new fixtures, I'm contacting the manufacturer now. We might do tests and gel our 6k HMI par (Key Sunlight) accordingly allowing us to use the existing fixtures as they stand. My measurements put pole cats out of the question. kevin

Hello everyone. Have a shoot coming up that I will be Key Grip on, not shoes I'm used to walking in as I'm usually behind the lens so I've got some concerns with the rigging I'll be doing. The location in question is a "bank" interior, high (about 17 ft) ceilings, with fluorescent fixtures built in to the typical office ceiling. By "typical office" ceiling I'm referring to the very light, removable boards that rest on strips of metal. The DP wants to rig about 12 large 4 bank kino's up there because there is no safe area, we'll be seeing ever corner of the place so stands are out of the question. I've never rigged anything bigger than a 150w arri to these types of ceilings and want to check in here as to the safest way to rig this set up. What clamps should I use and should I be ratchet strapping them down, or tying them off for extra safety somehow? There WILL be actors underneath and don't want any disasters on my first key grip gig, even a light falling on the other end of the set might scare the mostly senior cast into heart attacks and we can't have that on the first day of shooting can we. Thank you all in advance. Cheers,

Gel your "Safe light" red but don't go overboard or as Bob mentioned your focus will get really muddy, gel your "white lights" accordingly depending on the type of lights your using. "Never fix in post what you can do easily on set" seems to be something of a forgotten golden rule with some of us young folk. The more control you have of your lighting the better the final image will be. Get a gaffer on some switches. Flips the "Safe light" switch off and the "house lights" switch on. Most darkrooms have separate controls for each and I always remember students (in my photography studies days) forgetting to turn off the "safe light" because once the "house lights" were on they over powered the "safe lights" and you couldn't tell it was even on. kevin

Very insightful look into shooting this film David thank you. Shooting a moonlit-woodsy-ghost show in May myself (on a pilot tv series budget mind you!) Very helpful to have someone with a heck of a lot more experience than I do walking through the process, I feel much more prepared for my own testing especially when it comes to stock choices. Really looking forward to hearing how your exterior night stuff goes with the Vision 3. kevin