JB Earl

I forgot I sent this on the truck just in case so I got a picture. I forgot I sent these on the truck just in case so I got a picture. These are not a pole op fixture, but I think they come that way also because they are studio sized IYou can see the bright wheels that the barn door ring rotates in I should check the Box book either way, but I don’t see anywhere that a standard size scrim can fit -13 inches definitely wider than the slots behind the “wheels”

I’m away on film right now, but can get some pics next week.

The barn doors are actually bigger because they ride in rotating bearings, different from every other fresnel I have ever seen

Thanks, i have lots of strand and quartzcolor lights to take standard scrims, but these are huge studio lights, so maybe that’s why. Of course they always list as metric sizes too

Thank you. I should have mentioned, I’m hoping to find a source in the US

anybody know of an easy-ish way to get wire scrims for Strand/Quartzcolor instruments? I need 325mm...

last time I looked the replacement lamps for those were very expensive. I have a couple source4 HID instruments that I used Coollights daylight lamps in. They worked very well. I don't know if they are still available. At this point I would recommend an Aputure 300D or equivalent though over that Arri

I've run a couple hundred watts using an inverter on a car jump start battery. Not elegant but it works and it's cheap. There are some "power packs" that are big batteries with inverter built in.

Thanks I may have to try the Zircons. I do some gaffing where I'm unfortunately stuck with daylight only LED. Anything better than the current situation will help.

Has anyone had luck coming up with gel sets for adjusting color temp on good quality daylight LEDs? I know straight CTO won't work right. Is it worth the trouble to test adding +G -G cyan etc?

I've used the 300 D and Dii a bunch. They're very useful, but not quite up to a 575hmi, prob more like a 400. of course the HMIs can do a much hotter spot. plenty of accessories, though they're a bit clunky. That said, I wish there were some low budget mats that could match the output. The ability to tune color temp on the fly is necessary now, and often we're in really tight spaces where the mats are far easier to work with. the key with mats is don't roll or fold them

I will now, thanks. I just sent in on the website form before.

Is there a Sony rep here who can help me get a software tech support help? I've sent 2 requests on the Sony website, and have had no response.

the flo starter trick works great, especially if you need a bunch. You can also get flicker boxes with variable control for around $100 that will run a few hundred watts. https://lightsalive.com/controllers/miniflicker2-microflicker.html

usually use a Hi Hat. You could try one of those "risers" with a bowl, mount it to a board. What head do you want to use?

You don't actually need a REAL window or light to motivate from. Just pretend there is one out of frame, and be roughly consistent with it. You need the director's cooperation so you can work your coverage around where you motivate your light from (of course you can cheat it some) So how did your project go?

you'd often want the 12x on exteriors, and there's no way the Scrim Jim frame will hold up to wind.

I'm looking for recommendations on a good circuit finder. Mainly for finding separate wall circuits, not breakers.

1. that sounds like a good plan. I think you're referring to what would be called "back or upstage 'cross keys'" then add foreground fill to taste. 2. depends on what you want to light. you may find you only need some little kicks behind furniture or corners to bring some edge separations.

depends on which lights. tripods, do you mean light stands? I think the only thing you should hang would be led mats unless you have a gaffer and key grip.

Kino will spill just as much as a soft box, you need grids on either, or toppers and siders. But tungsten works great, just that the boxes take up so much volume in a small space. Sometimes simple is better, but if you go with the moonlight or street light, keep it subtle. You need your lights for all of the shots, if you expose for the lamps, then you underexpose the scene. If you expose for the scene then the lamps will be overexposed. Thats why in your sample scene there was a film light rigged above the lamp with the liquor bottles

tungsten softboxes are great, but they'll eat up space in a small room like that. 4' kino, or big led mats, or Quasar tubes, will be your friend. you won't need many footcandles if there's no dayight to fight. you don't have to shoot at night, just black out the windows. if you have good Karma, the windows face north-ish and you might get away with just hanging some Duve outside ; )

well, clearly there's something mounted up high motivated by the lamp at the liquor bottles. so a polecat or wall spreader (unless you can tape led mats up). Then you could use a 4x4/softbox/kino/ to move around for fill on each shot. the bathroom doorway light is the 3rd player, but is something like that in your scene? you could play streetlight or moonlight through one of those windows....

Im looking for everyones favorite ways to use mats or panels in the 9 x 18 size. I have a bunch that are 1x2, and I use them like Kinoflos (2 and 4). But the 9 x 18s are an odd size. Do you put them in soft boxes? Or a couple through a 4 x 4?

so for high key, most of your tones should be above middle grey. looks like all of the background is dark wood.