timHealy
-
Posts
1,301 -
Joined
-
Last visited
Posts posted by timHealy
-
-
Been using chinese lanterns for years without incident. As long as the bulbs are hanging in the middle of the lantern or you use one of the fixed bulb harps like lantern lock or other manufacturer you will be fine. A fixed harp will be better out side in the wind.
-
The sun effect is hitting Health ledgers face but it is more of a side light, slightly back lit. Not quite a 3/4 back. I think that is usually just fine. I think where you see the sun flagged off someones face is when it more frontal. Like any typical episode of Law and Order with Sam Waterston
-
I would say every window has at least 1-18k fresnel through it on a lift. If Janusz shot it there would be at least 2-18ks fresnels i each window.
I do like Phisters work. in the dark night movies, usually one backlight and a fill light that acts as an eyelight. that's it. very simple and beautiful.
Tim
-
Interesting solution Phil.
Short of a light board and a programmer, the next best thing to a Magic Gadget Flicker dimmer is a Magic Gadget Shadowmaker.
https://www.magicgadgets.com/product/shadowmaker/
Just a great tool to do all sorts of random or rhythmic flickering and flashing. It has three 20 amp channels. But don't forget that when using one or 2 channels that the first channel powers up the controller.
My only complaint is the still seem to build these with fuses and not breakers.
It is just a terrific device for smallish flickering effects.
-
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.
-
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.
-
On 9/22/2019 at 12:49 PM, Gregory Irwin said:
I’m 58 years old and just had open heart surgery last week! I know once I recover, I’ll be good to go again. Best wishes to you.
G
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
-
On 9/13/2019 at 1:24 PM, Webster C said:
If anyone wants a full-size Oxberry, in two weeks I have to dismantle one in Seattle and take it to the scrapyard. I have asked around extensively and no one has room for it - it's huge! We will, of course, salvage the camera.
that is a shame to throw it away
-
19 hours ago, Daniel D. Teoli Jr. said:
Depends on their overhead, wife, etc.
you forgot ex wife, ... or ex wives
-
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
-
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
-
Paint the ceiling black to reduce bounce and increase contrast?
-
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
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.
-
We're having a hypothetical debate in the studio this morning around the concept of Jumbo lights (wiring 28V ACL lights in a series). We're not electrics so we won't be wiring anything ourselves but had a question about the concept.
Assume we have 4 x 28V/600W ACL bulbs wired in a series. We'll end up with 112V and 2400-ish Watts, which is 21.4 Amps. Not powerable by a 20 Amp household circuit.
Is my electrical knowledge correct, here? Thoughts? Voltage and Watts add up in a series. Then Watts divided by Voltage to get Amperage.
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
-
Let's see if I got the FC thingy.
You know that to get an exposure of T2.8 @100ASA / 24fps / 180ª you need 100FC of light, any light that gives that amount of power.
So, as you said: "If your digital camera is 2 stops faster than an ISO 100 film (400ASA, right?), you will need 100 FC to get a stop of 5.6" and "if your camera is two stops faster than an ISO 100 film (400ASA), you will need 24 FC to properly expose your key tone (mid gray) at a T Stop of 2.8. 24 FC would then give you a “properly” exposed flesh tone on her."
Now, does that mean that if you want to expose your key tone (mid gray) at T2.8 with 800ASA (3 stops faster than 100ASA) you need 12 FC???
And if you want to open your Tstop at T2, that's 1 stop faster than T2.8 and you will need only 6FC to expose your key tone (mid gray) with 800ASA??
If what I'm saying is correct.. then IT IS super easy to make all the maths in your head! Probably I'm totally wrong haha.
You only need to set your key T Stop, your ASA and the rest falls in place quite easily!
There should be a whole book on Footcandles for dummies! :D :D :D
Have a lovely day.
I learned how to use foot-candles by using the meter most DP's were using when I was just starting out.
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
-
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.
-
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
-
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.
-
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
-
For really kick ass smoke, somewhere in LA is a smoke machine attached to or built into a truck mounted jet engine turbine. I’ve only seen it once while working on war of the worlds. That thing smoked up whole city blocks with no problem.
-
I worked on Pan Am where one night interior scene got reshuffled and became a day scene. A large 30 x 70 green screen hanging outside a window for a long steadicam shot became a green bounce from the sun. The solution was to get rid of the small tungsten and bring in large HMI’s like 6k’s.
-
I have an app called Swatch that shows a few alternatives that are closer to that color than full cto. It searches Rosco, lee, gam and apollo (which I am not familiar with)
-
Call the manufacturer. Maybe they’ll send you a sample. Who makes it? I can’t find it in my swatch apps. What’s similar? You can hold out for what you can’t get, or go to plan b. Filmmaking is full of compromises.
-
What? You are in Vegas and you cant find gels? You are in Las Vegas! There are all sorts of theatrical companies there! Even if you have trouble finding color correct gels for film and TV, you can surely find theatrical colors.I'd love to test these ideas too, but i won't have time. I'm in Vegas and finding gels-- well, I might as well road trip to Burbank. I can get some them from B&H but they have a 7-14 day order period. I can medium straw from JR lighting here in Vegas.
By the way, a magic gadget shadow maker is my favorite for TV and fire flicker and other effects.
Overhead Lighting for School Bus
in Lighting for Film & Video
Posted
Can you just hang a large frame, or several large frames end to end, with bounce material and hit the bounce from the ground? With any type of light you want.