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D.C. DuFrane

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    New York, NY
  1. Yes I have it! Re-reading those chapters now that I have a better understanding of whats going on. Thanks for your help!
  2. Ed - This will be a disconnect switch dedicated to the cam locks. It has not been installed yet so there is still plenty of time to reconsider the needed service before it will be in use. JD - A fair point, and I appreciate your honesty. I have an experienced gaffer that will be training me and supervising this when we get there, so I'm not in this alone and definitely taking precautions, just wanted to see if I could glean any info from you guys here before I meet with them. That being said, does anyone have recommendations for books on electricity or good courses in the New York C
  3. Thanks so much for your help and the info on splitters! All I need to run is one lamp at a time (testing the fixtures for rental) so using up all of my power on one of these is fine with me. So if I'm running just the 10kW from one leg, I won't need to worry about damaging my neutral since it should be rated to carry the necessary amperage, am I correct? It is my understanding that the service is 120V only, will I need to talk to my building electrician about 240V service or is there another option for the M90? I'm glad you brought this up as I had overlooked the 230V only ballast.
  4. Hi everyone! I have a few quick questions about running a Mole-Richardson 10kW Tener Solarspot (or really any other large fixture) from a 100A 120V service panel on the building mains. The panel has Cam Lock output and will be going into a 100A distro box like this: https://www.lighttheatrics.com/lex-100-amp-3-phase-motion-picture-box-with-tail-input-dbs100dt-b4bi2/?gclid=Cj0KCQiAzrTUBRCnARIsAL0mqcwbjlgWj2tBopApyjosTuHu4g6KpgcC221J8FoAubpZwbrsBvLRjOsaAlBMEALw_wcB I will need to power fixtures such as the Mole Tener and ARRI M90, which I assume we will be fitting with 100A bates connect
  5. First response on here, so veterans please correct me if this is wrong. I think lighting the way you described you will end up with very pale white skin next to the warmly lit dark skin, and probably some awkward looking lighting. I think going with one color temperature for your scene will benefit you, and the skin colors will naturally fall into place where they should in relation to one another. Watch out for reflections on the darker skin, and use negative fill to take some of the harshness out if you're getting them. The negative fill will also really help with the low key look you're goi
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