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timHealy

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timHealy last won the day on June 26

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About timHealy

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    New York
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    online reel http://www.timothyhealy.com

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  1. It could work but I think the biggest x light or goya (desisti came out with the HMI "nook" light before Arri made the X) is a 4k and they are not focusable. Depending on your shooting medium and ASA you might need more than you think. You could get more light out of an HMI 4k par or HMI fresnel. Are you just bouncing or double diffusing? I would go with a bigger light and scrim it down if necessary. But thats just me.
  2. They organized a second unit shoot with no DP and no camera operator? They were playing you to save money and hoping for the best.
  3. Hey Greg, This is Tim Healy from Joker. Hope all is well by now and you are back to work. I've not had any serious health issues... But Janusz tried his best on WSS. Man does he love to light.. with everything and anything you can throw at it. Best Tim
  4. Have you read the tech specs and differences between the tubes? I would start there. The Titans are the same thing as the AX-1 but much better. They are about double the cost but you have to decide what works better for you and your jobs. From what I understand it probably has color, longer battery life, and a display that you can scroll through a bunch of the manufacturers colors like the sky panel. The AX-1 doesn't have that. They weren't originally built for film and TV. You can also set DMX numbers. It has a different cabling and power system if you are using wired DMX. They have a variety of cabling lengths available. You mentioned wireless DMX module. What is that? the Asteras can work wirelessly the app and with cintennas and wdmx. I have only had the titans in my hands once in an equipment house a few weeks ago and not on set. It is a very hot light to have if you have people around you are wowed by the latest and greatest. Before you invest in them, maybe you should just rent them and see if you like them. Also they won't be worth buying is you can't rent them to your clients. They are great lights for certain things. But there are many things the cheaper ones will work just fine. Best Tim
  5. does this help your HMI shooting speed questions? We once used these cards everyday shooting film and magnetic ballasts. Not so much shooting video and electronic ballasts everywhere. https://cinemaelec.com/flickerfree_hmi Tim
  6. I think I should clarify, when used in a big light like a Dino, one would not change the connectors. So a Dino usually has 6-60 amp connectors. One connector powering 4 120v 1k bulbs. If you replace with ACLs, one 60amp plug can easily power 20 amps worth of ACLs. The breakers never trip. Other big lights may even have camlock so a piece of 5 wire banded would power up a large light.
  7. Not hypothetical. Was done a lot in 90’s with Mole Richardson Dino Lights. Vittoria Storaro still does it with some of his lights. Tim
  8. I learned how to use foot-candles by using the meter most DP's were using when I was just starting out. https://www.ebay.com/itm/SPECTRA-P-251-PROFESSIONAL-CINE-LIGHTMETER-ASA-SLIDES-ORIG-CASE-UNUSED-TESTED/132744643142?hash=item1ee8328246:g:kuwAAOSw1-dbcxJ5 You have to change slides when metering your key light or what you want to expose at, but then use foot candles for the rest. there is something very pure and graceful with this meter. If you do find one, be very gentle. They are extremely fragile. The guy who use to fix them in NY retired years ago. I think LA does still fix them when necessary. Its almost like learning how fun a manual sports car can be after driving automatics your whole life. Best Tim
  9. Lots of good simple ideas. Lite gear dimmers now have some basic programming but I would say it is limited. My favorite all time flicker device for lots of reasons including tv looks, fire effects, rythmic club and bar looks is a magic gadget shadow maker. http://www.magicgadgets.com/product/shadowmaker/
  10. I worked on a few of them over a two day period but as an electrician I forget the details, but it was probably an Alexa. I'll see if I can find out. But what was interesting is they did something like 3 spots per day with talent only being there for a few hours. They were done very simply utilizing the architecture of the space and some set dressing, and if I recall correctly a large soft key light and the use of existing lighting were possible and appropriate. Commercial producers don't like spending money in a way they once did. The crew was very small and tight. Joe Pytka directed them. I don't know if he has done every one, but I would say probably. best Tim
  11. To add to Stuart's comment, It happened a lot using daylight loading spools if you did not use a darkroom or a changing bag. the first and last few layers of film got a good blast of unfocused light. If you wanted to get real creative you could open a roll of film on a core in the dark and flash it. Now that Ive mentioned that, some DP's once pre-flashed rolls of film evenly by the lab for certain looks.
  12. If I recall correctly, a company called Unilux in New Jersey once made a syncable strobe. It was mostly used to shorten the exposure of every frame with the strobe so juice squeezed out of an orange or water coming out of a shower head was captures in crystal clear blobs instead of blurry streams with normal shutter rates. Perhaps they can help you. I haven't seen these lights in years though. best Tim
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