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Matthew Parnell

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About Matthew Parnell

  • Birthday 05/19/1988

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    Brisbane, Australia

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  1. I’ve got one. They’re a nice little unit. Nice and versatile. Can be used as an AKS. As an expansion to an AKS for additional universes, as an extra transmitter in a larger network. The web app works well for configuration. Would love a bit more battery life, but nothing a battery bank can’t fix.
  2. I did a meter update last year and got a Sekonic L858 and C800. Im really enjoying both of them. You can’t ask for much more from an exposure meter than what the L858 delivers. The touch screen takes a little getting used to, especially coming from older meters, but once you do get used to it and set it up for how you want to work you struggle going back. The build quality is really nice, the only thing I don’t particularly like is sekonic’s horizontal position meter pouches.
  3. We’ve found it’s often more cost effective to purchase new header cables. The Veam connectors are notoriously expensive on their own, and need special tooling and an experience hand to get right. Strand 2.5 and 1.2 connectors are similar but have different keyways. This is by design because mismatching the ballast and head can be catastrophic to both.
  4. Kino Celebs and the Litemat Spectrums do natively. Skypanels and Vortex8’s allow you to do this via DMX by using the cross fade channel. Set the saturation to 100% and use the cross fade channel as your saturation.
  5. Strike the lamp and burn it for a good hour. Measure current draw and ensure that it isn’t excessive. Drawing excessive current can be a sign of other problems developing. Inspect lamp and lamp holder. Look for any pitting, burns or signs of arcing. Check the lamp seats properly into lamp holder. Inspect all plugs and sockets for damage, corrosion and burns. This is usually particularly telling on the feeder cable. Open up the ballast and check for corrosion, signs of water ingress and check general condition. Moisture and dust in any combination is a recipe for expensive repairs. Overall you are looking for signs of care and ongoing maintenance. Aging HMIs that are in a bad way can be particularly expensive to keep going.
  6. That’s an incredibly broad question. It really depends on what situation you are trying to replicate sunlight in, and what type of sunlight you are trying to replicate. I’ve used everything from LED panels to Dinettes and Dinos, to banks of several Arrimax heads to replicate sunlight.
  7. Blue and Green screens are pretty much all I use Kino for these days, and they are probably more of a viable option than they ever have been. There is a lot of 2nd hand Kino going dirt cheap around the place. If you are on a budget I can’t see the extra expense of LED being worth it just to light a blue screen.
  8. On a job where we are using A LOT of Vortexes(and a lot more Skypanels). The Vortex are a great piece of kit, they tick a lot of boxes, and fix a lot of gripes I have with the Skypanels. Personally I’d buy them any day over Skypanels. They are much more versatile and user friendly. With the diffuser (either the flat, or domed) they are roughly the same output as a Skypanel, maybe a 1/4 stop brighter. Without the diffuser they become a different beast, especially with multiple heads grouped together.
  9. The Snapgrids are great, but if you don’t specifically need the ‘snap’ element, there are plenty of manufacturers that do tie on eggcrates. Check out LightTools, The Rag Place, LA Rag House, Modern Studio etc. If you are looking to go really cheap some of the China based suppliers on AliExpress and eBay also make eggcrates.
  10. Either will work fine provided you have a master intensity control(im pretty sure the falcon eyes does). There is a couple apps that give you rough RGB values for different gels. RGB and Hue/Saturation values given on the GUI of a light are rarely calibrated to any kind of standardized colour space, so are fairly inaccurate and wildly differ between different models of lamps. You will just have to fine tune by eye. The x and y values are useful if you have a meter to read them, but there is often more than one way to vector a light with multiple emitters to a specific x-y coordinate(especially if there are wide band emitters like a white or amber). So it can still be quite tough to manually get an X-Y ‘match’ that renders accurately on less saturated colours.
  11. I understand the theory, and have had it work successfully many times before, but unfortunately I’ve also had image flutter at as low as 200fps using phase distribution both with Cyc strips and Spacelights. Even using phase spreading, the individual sources are still flickering and the light being projected does move around at those high frame rates as a result. Sometimes you do get away with it, sometimes you don’t. Having seen it go wrong, unless you can afford to test it, compromise to a lower frame rate on the fly, or have the manpower and equipment to re-light it, it’s a risk that I’d prefer not to take.
  12. HMI lamps have very little real consistency between them. Ive seen them vary from as high as 6300k brand new out of the box to 4800k at the end of their life with varying levels of green/magenta. Generally speaking you tend to be able to get away with all but the extreme ends of the scale.
  13. There isn’t really an easy formula like the inverse square rule for bounced or diffused light. There are simply too many variables going on between lamps, textiles, light angles etc. Once you have a bit of experience you can generally get a good idea of what’s going to work. If you are nervous about your lamp choice you can alway err on the side of going bigger, and wire the lamp back.
  14. 1ks, especially the double ended lamps in Cyc lights are pretty much guaranteed to flicker at 500fps. The general rule for lighting high speed with tungsten is to go 5k filaments and above. 5k skypans would be a great option if you can get your hands on them, or likewise 5k fresnels with some diff would be good. You could also go HMI with 1000hz ballasts. Arri X lights would be an ideal quick solution for the cyc. LED or Kino might be an option, but I can’t see you affordably getting the coverage and level you need.
  15. In reality most of this ad would have never been possible to achieve on the budget this one has if it was shot on film. People are quick to romanticize film, but the reality is film shoots and the look of film also relies on ‘film’ budgets in lighting and gripping to support it. Spend the same on a digital shoot and you can get a lot more bang for your buck.
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