DarrylPargeter

well thats a much better was of explain it then me ^^"

I'm not sure what your gauges are (I'm sure a google will know) but with cables you don't what to overload them as its a fire risk. say you have a cable that you should at max run 3K through but run 4K your overloading and are at risk of fire. but the gauge will also factor into line lose the thicker the cable the less line loss the thiner the more line loss as the thiner cables have more resistance. through if your in a small location you shouldn't have to worry about line loss. (again google will do a better job then me at explaining it)

Adrian, if its a form of circuit breaker then yer, but I'm not 100% sure what a GFIs is my understanding of electrics pretty much just UK based, as I have spent time leaning the US systems. a light my friend uses a lot of BG fill are those LED 4x4 panels that are V-locks, no really colour shift when dimmed down ( I don't personal like these as can't really do much in the way of molding) you could look into getting a set of nets (like scrims but in flag form) going along the lines of the PARS64/ 56 for a nice sharp beam or projection a source four is a good fixture (through rent one will be cheeper)

one of the first things I would add would be an in-line dimmer (can buy or make, depending on you skills in terms of electrics and wiring) dimmers have saved my life so many times on productions. with the Chinese brand you want to make sure that its all wired the right way, I brought a set of 3 Red Heads gave them the ones over and my live and neutral where crossed over. The volt pen I only use when trying to work out why a cable run isn't working or if I don't trust the wiring of the place I'm working in. when working with the bubbles (bulbs) just don't touch the glass and your good really you can get cotton gloves that you can wear when changing them but I've ever seen someone on set with them unless its art dept. I would also get some RCD's (Residual Current Device) which is something you put at the mains and acts as a another barker. (but I don't know if you use them in the USA) gloves wise I go with dirty rigger glovers, one because I love the name, but mainly there have a strap that keeps them on my hands the set wears one would all ways slowly fall off my hands ='[

for painters its depend on the style of the film, or the individual but painters I've looked at include Caravaggio, Edward Hopper, Da Vinci a lot renaissance painters as they where looking for a way to portray realism

How Phil said it would be the best fade from one state to the other. Are you looking for something along the lines of the opening of The Conformist?

what's the point of the scene? why is he going into the room and all that? as I don't think you would have to redesign the lighting style completely just maybe more your shot plan, as from what I'm getting from your floor plans is the door is in shot and we see the actor walk in. But the audience will get that the door is being opened when the shift in colour happens as the doors open. So maybe have the same set up just move the frame and have the actor coming into frame later after the doors open and he's past the hot spot

I've done something like this before but into a basements not a bedroom. the block was that the actor was to open the door then walk down the stairs, the camera was place at the bottom on a 25mm or a 35mm can't remember 100%. because the camera could see pretty much to the top of the stairs putting a stand there was out of the question. If we put the Lamp outside of the door then the DP didn't get the look he was going for. So we took the door off it frame, rigged a 650W to a couple of C-stands booms arms and got the lamp through the door and above the actor pointing down giving the look the DP wanted to have the opening of the door I used a flag and moved it as if the actor was opening the door himself. but that can only work if your able to take the door off, which by the sounds of it you want in shot? could you possible bounce a light from the opposite side that the Dedo is on in the second one? which you might be able to scrim/ defuse or maybe flag off of the actor? or use some editing magic and do both set ups just cut them together with a interlinking shot... I'm drawing a blank other then maybe using a bigger light through a silk in the hallway but you then lose the hardness/ might not make it to his face

Hey guys, I'm lighting a film next week that is planing on using a young child (around 10) as a shadow monster kind of thing. For the effect to work I need to point a light at this kid that would most likely not be more then 5 feet away within a small bedroom, the cinematography what's me to use a 650 fesnal or a red head to get this effect. I personal feel uncomferable with pointing light that would create a hard egde shadow of the child in that small of space. I've talked to the prodoucer about it but I fear it fallen on deaf ears. I'm not really 100% sure what to do about it. I'm not that knowable on what the rules are with working with children of that age so Any help would be welcome.

Hey Guys, I'm the Cinematographer for Home Guard I was wondering if I could get some supported? The film is based in War time Britain on the Welsh cost the story is A young enthusiastic lighthouse operator during WWII is eager to break free from his mundane life on the British coast and do his part for his country, when one night an unconscious body washes up ashore, news of a prison breakout in Bridgend rises suspicion that the washed up man might be a German POW, setting of a spiral of events that show him the bitterness of war. https://www.facebook.com/Homeguard2013

I have Tea bags in my pouch. For two restion one in case craft run out or on a smaller production where its cheap ass Tesco (or other supermarket brand) tea bags which just aren't as good as other stuff =D.

Yes i do mean 2,000W... so from that I'm guessing that the B 32 and B 20 means the amps on the fuse? though I'm some what confused I've been told that kW = anything over 1,000W. and if thats the case I've been told something wrong which isn't good as I'm dealing with electricity.

Okay so I went back to the location today and checked out the fuse box. the fuse box is 100A at 230V giving an overall output at 23,000kW and it has two circuits both at 13A, 230V giving 2,990kW. first of is that right? and secondly if I put 2,000kW (which I shouldn't be) into the circuits would that trip the fuses? or would it be okay as both can take more? heres the fuse box in photos just in case I missed something: Right hand side of fuse box left hand side of fuse box whole fuse box sorry about the links to the photos but when I resized them you couldn't make out any of the detail.

so if I understand it right then for a Double Kino at 230V at 4ft would the P.F =.46 and the Apparent Power is 322W and would the 2ft would the P.F = .38 and the Apparent power be 207w? I believe my calculations are right, I just what to make sure.

Hey Guy Holt, how do you work out the Power Factor of .54 and then work out the Apparent Power of 550W? and Brian Drysdale thanks for that bit of info