jeff woods

Might be in left field on this one, but what about red? -j

Given how the festival works, how do you know this location will even work? Especially if you get "road movie"... My 2 cents is that you've got a lot of contrast that, if you want to see the outside, you need to bump up the inside. -j

Does he mean what it takes would look cheesy, or how it looks on camera? I could see him feeling like this method is "not pro", but ultimately it's the finished product that's the important thing, not how one's ego may be bruised. 2 cents, -j

A little OT, but I have to share. Outside of the day job, I do lighting for theatre. I was working on a show with a set designer who is a retired scenic artist with a history in TV. When he was hanging items on the walls of the set, he suddenly stopped and said "Huh, I just noticed I only hung them 8' up, because intuitively everything above that would be out of frame...". Needless to say, he fixed his "mistake". -j

That photo also looks like it has some sort of "star" filter on it to give the light sources the 8 point legs. -j

Does anyone know if there is an aftermarket soft eggcrate for the Kino Flo Image 85? The Kino site only offers barndoors as a control accessory, and a cursory pass online has yet to yield results. Thanks; back to the hunt. -j

Since the gloss black will essentially act as a mirror, you'll need to be aware of what is seen in it. As with cars, a familiar stand by is the large white source above, acting as both light and something to reflect in the gloss, so as to define the shape of the car. -j

It looks like you have a huge bounce hanging over the entire space; utilize that to bring up the ambient light while still maintaining the "natural" look. And I'd second the suggestion of CTOing the windows; with all that tungsten in your kit, and what's probably available as practicals in the space, you'd be beating yourself up to try and get most of it daylight balanced. -j

I may be off the mark here, but the S4 tungsten doesn't care which line it gets the hot from (the sockets are not polarity specific). So, if it was a single line to a single light, which leg the hot is on shouldn't matter. And this may not be be knowledge to you, but the sockets are grounded to the cap of the fixture, and thus to the chassis of the light itself (primarily through the brass screw that keeps the cap on). So, my two cents is that the swapped hot/neutral at the receptacle shouldn't make a difference. I'd continuity check your stinger. Again, I could be completely off the mark. -j

As pedantic as this may sound, a copy of something like this or this would be a good place to start. Also, going to see shows and (if the theatre is amenable) getting a tour of the space. And scrutinizing the lighting rig during the show. I have been lighting theatre for over 10 years, and only dabble in film. The biggest thing I have learned is that in film you light for a moving audience (the camera). In theatre, you light for a fixed audience. And sometimes that audience is on all sides of the action. Other tips I use: -Theatre can have a LOT more contrast than you are used to, because human eyes adjust. -Under the best of circumstances, you have a long time to finesse the look of a show, unlike film where you get as close as you can withing the confines of the schedule. -With film, you can move the light closer to the action. In theatre, you (most often) need to adjust the light in its same position (grid height) with different lenses, shutters and accessories. -For the most part, it's all hard light, due to the distance from the actors. Hope this helps, -j

Maybe I'm just a pessimist, but it's kind of sounding like you want us to help you deny something happened to the light if the rental house questions the health of its gear. -j

Linky!

Do you mean "economical" in the monetary sense, or power-consumption sense?

Yes and no. Light needs something physical in the air to be seen, and if that's smoke, baby powder or dust, the rays will be visible (all things considered). Without some kind of atmosphere in the air, the rays will not be visible. Other considerations will be how much ambient light is in the room, what the in-frame background behind the rays will be (the darker the background, the more visible they will be), and how in focus and close the camera will be to the rays (and whatever you use as atmosphere). -j

Looks like a NEMA 6-30P, 250v. -j

It looks like it would vary greatly depending on which side you use. The bottom looks like 1/2 CTB, and the top looks full blue (or 1/4 and 3/4 or something, I'm guessing based on the photo). It could be anywhere between 3000 and 4700. But again, wild speculation on my part. -j

There's no such thing as a "green light" (excluding LEDs), only a light source being passed through a filter material. You need to know the quality of the source, not the color of the output, and match to that. For example, in my day job, I deal with Vari-Lite fixtures (arc and tungsten sources); when we shoot something, we take into consideration what the final product should look like. If we want to focus more on the person lit with tungsten, we white balance to that. If we want to make sure that the wall accented with teal and blue looks right, we white balance to the VL fixtures (in full open white). However, that will make our person look VERY orange, so we either need to "blue up" our tungsten fixtures (and add in more since we are losing light by putting a filter in), or switch over to ONLY lighting with the VL fixtures, so all of the whites are the same. I don't know if that's helpful, or if I just muddied the waters even more, but I wanted to throw in my two cents. -j

Moderators: any chance of splitting and combining the discussions? -j

All that everyone has said, plus c o m p l e t e l y ignore that third one; it has no bearing on what you are asking. And it's hosted by a fishing website. That made my brain hurt... -j

Looking at the window in the scene, it looks like very deep external panes/stiles, wherein the water wraps around the bottom of the wood and slowly runs down the glass, as opposed to quick small streaks. -j

Google gave me this image. One of the best examples of PMP is on "24"; almost all of their driving sequences are done this way (with projection providing background). One of the best parts of what they do is (at night) they let faces go in and out of total black, instead of having the obligatory "dashboard-as-light" effect. -j

2 pieces of gel taped together and slowly moved across the face of the lamp? -j

I don't know if this goes against your "obviously lit" concern, but what about some small floor units streaking up walls behind patrons (assuming they are in the shot), giving you interest in the shadows without compromising depth? -j

With only a handful of posts under my belt, I wanted to say that, but figured I'd be "new guy friendly" :) But yes, I second Mr. Hartman's reply; it's like going to a mechanic and asking "how do I fix a car?". -j

A blanket question like yours requires you to answer at least: -Who makes the light? -What is the fault of the supposed light in question? -Do you have parts on hand? -If no parts are on hand, who orders them? Not trying to be a jerk, just being practical. No pun intended. -j