Jump to content

Matthew Parnell

Basic Member
  • Content Count

    293
  • Joined

  • Last visited

  • Days Won

    2

Matthew Parnell last won the day on October 5 2016

Matthew Parnell had the most liked content!

Community Reputation

6 Neutral

About Matthew Parnell

  • Rank

  • Birthday 05/19/1988

Profile Information

  • Occupation
    Electrician
  • Location
    Brisbane, Australia

Contact Methods

  • Website URL
    http://www.mirrorfilmlighting.com
  1. Normally when I run spacelights I chuck a dimmer curve in the console that limits them to somewhere between 85-90% (this depends on the dimmer itself, if the voltage of the stage is on the high side, I may go a little further). The 10-15% reduction doesn’t tend to affect the output much, but does increase lamp life a lot. Bringing the lamps on and off softly does also help. I find transporting with globes in the head, though often unavoidable, adds to the problem.
  2. In Australia for a handful of reasons we tend to go a bit overboard when wet weather hits. - Heads are covered with either Hogsmesh, or an umbrella. -Ballasts are elevated and ideally placed out of the weather, or covered with an umbrella, or hogsmesh. -Distribution boards are elevated and at least tarped. -Electrical connections are elevated. If not a weather proof type they are also covered/taped. The power on nearly every film set in Australia is RCD (GFCI) protected. Our power distribution equipment has RCDs or ELCBs built in as standard. Our safety code also stipulates the use of plug in type RCDs if in a building without RCD protection (this is getting rarer since safety switches became mandatory in all new builds and electrical upgrades). You can buy Hogsmesh from Barbizon and John Barry Sales in sydney. Most gaffers and rental houses generally will gladly send out some wet weather gear like Hogsmesh with the hire if you ask.
  3. Unless they are specifically designed to, like Quasar Tubes or some domestic LED replacement lamps, MOST LED units will not dim using traditional dimmers. Makes about as much sense electronically as putting a TV on a hand squeezer to control the brightness. There is so much electronics in between the power input and the LED emmiters themselves, in most cases a dimmer at best will cause the power supply unit to work rather hard before going into a fault mode, at worst do catestrophic damage to the heads.
  4. The male plugs have two flat edges and two rounded edges. On the female there is a raised Kino Flo on the mould of the plug. On the heads- The Kino Flo on the mould will line up with the middle of one of the round sections. Narrowing it down to two options to try (much like usb you always get it wrong first time) On the ballast- When plugging in the ballast rounded sections go top and bottom, kinoflo on the mould will be at the top White paint pen marks can help to line them up as well if that doesnt help.
  5. How close a match do you require? Is it a color critical situation, or are you also working with natural light or have a litttle creative latitude? If you have creative latitude you will be surprised at what you can get away with if you get them close, if its color critical then you will need to spend a bit of extra time dealing with it. Generally speaking, putting CTB on Tungsten lamps will attain a better color match than trying to put heavy (full or stronger) CTO on HMI lamps. Heavy correction on HMI tends to accentuate the peaks and troughs in the lamps spectrum and can have some interesting, and difficult to correct results. Naturally CTB on tungsten does come at a cost in terms of stop. You may be able to meet half way and start with a 1/2 CTO on your HMI, then CTB your tungsten to match. It would probably easier to correct your colour temperature first, then when matched, fix your green bias with +/- green on the HMI Head. There really isnt magic formula. Especially with HMI. Lamp to lamp you can have large variances, 2000 kelvin and 1/2 value swings in green from a new globe to an old globe are not unheard of. Make sure you have a comprehensive supply of correction gel, and most importantly have fun! If you can go with a tungsten balance, it may be worth checking the rental house you are getting the M18 from to see if they stock the coated Tungsten balanced 1800w Globes Osram make.
  6. Sorry I didnt realize youre after the old old style Arrisun 12 sealed beam globe. Good luck with that.
  7. Filmandvideolighting.com has Koto 1200 SE Globes for US $170. If you stick with brands like Koto, Osram, GE and Ushio you should be fine. Globes shouldnt be used with physical damage. Once youve seen a HMI or larger tungsten lamp explode, youll understand why.
  8. Speculating here, but perhaps to achieve the light pointing down, using a head and lamp type that many not allow this to be done safely otherwise?
  9. From the vantage point of a lamp op, you see DPs, often early in their careers come from a low budget background where they do everything, and don't really 'get' what a good gaffer offers. The most successful approach tends to occur when the DP and the gaffer start with a discussion about what the DP wants to achieve, and then they bounce ideas off one another about the best way of doing it. Sometimes, if the DP has a specific plan in mind you might just go with that. Other times the gaffer might suggest something that delivers the same result but is more flexible, or quicker, or cheaper, or just plain better. The trick here is collaboration and utilizing the talent and skills of the people around you. A good gaffer is going to be your best ally on set. They provide a second set of eyes, a very large bag of tips and tricks, a vast range of experience, and can let you focus on telling the story rather than getting distracted by the mechanics of lighting a scene.
  10. Check out James Neihouse on instagram. We was the curator last month of the ASC instagram and is a legend in the world of IMAX and filming in space. Probably one of the more interesting months on the ASC feed. I think I remember reading something about C500s being used.
  11. If you don't have any white wardrobe or props, you could consider staying with the white, ideally lighting it well above key and using a Luma key instead?
  12. 1/4 Silk(also known as a voile) or Hi-lite are perfect for these situations. Both are very different. The hi-lite is a little like Hampshire frost in that it softens off how hard the shadows are, but doesn't do much in terms of contrast. Hi-lites are heavier and a little less manageable in the wind than a 1/4 silk. I find the 1/4 silk allows a fair bit of hard light through, so it doesn't drastically reduce light levels, but makes things less contrasty and fills the shadows a bit more.
  13. Also roll your gel to its smallest size. So when you grab a piece of rolled up gel that's 2ft wide, you know that it will be at least 2ft X 2ft in size. Nothing worse than grabbing a piece of rolled gel that's 3ft wide, getting to the lamp only to find its 1ft long and useless for the task.
  14. I think it has a lot to do with many manufacturers rationalizing their product lines as demand reduces for tungsten lamps. I contend that using a 240v lamp at 230v is somewhat advantageous. Assuming the perfect supply, running a 240v lamp at 230v renders a theoretical drop in output of only about 4%, or less than 1/8th of a stop, and very little in terms of mired shift. What you gain is an improvement in lamp life, which is handy if you have a couple hundred lamps hung in a studio. Add to this the fact that despite having a nominal voltage of 230v, many countries, like here in Australia have a historic voltage of 240v, and our actual supply voltage usually sits much closer to 240v(metering 245v isnt uncommon if close to a substation or transformer). As a result 230v lamps have a rather limited lifespan.
×
×
  • Create New...