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Alex Sprenger

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About Alex Sprenger

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  • Occupation
    Electrician
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    Vienna

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  1. I have been using the Aputure Lanterns (both sizes) with their b7c e27 lamps for handheld walk and talk kind of situations at night. Because both are so cheap, I recommend putting a e27 splitter with 3 or 5 bulbs in there. That way, the batteries last longer and if you need it (which in those classical night ext 800 iso, t2.8 situations you wont) the output is still there. If you want to run them of a v mount, I recommend using a Tether Tools d-tap to edison adapter in a backpack and wiring the lantern up to that. Of course, if you are using said adapter, you could also use Astera Nyx at that
  2. I own both Moonlites by Lumenradio and Skynodes by Cinelex and I have had more issues with the skynodes to be honest... Sometimes its hard to pinpoint whats the problem is, but I use a moonlite as transmitter and a mixture of moonlites and skynodes as receivers. Maybe the problems with the skynode come from having them work with a moonlite as a transmitter? Technically shouldn't be an issue, but you never know. I never had an issue which I couldn't resolve within a couple of minutes with either system and most are just a case of one skynode losing connection and me pushing the link button
  3. Just to add to what Joseph said: Will there be direct sunlight coming into the studio? If there is no direct sunlight in the studio you might get away with your small LED package, if there is direct sunlight hitting any part of the white (even if its off screen), you will need a lot more blackout material than just a floppy. Generally speaking a room without any stray light is best for these high key kind of situations, as you need a lot of control over the levels to make it look good. If you want crisp, clean cuts on your homemade cardboard cookies, a par light like the M series by ARRI
  4. So my current setup is pretty basic and is geared towards rather simple cuelist programming, all of which I do in an app called "Art-Net Controller". The way most of my friends seem to do it is via Lumiair, which I chose not to do because I use Android products. For me, if you build a super small setup into a peli case, it makes the most sense to keep that small footprint and stick with a tablet. Of course that limits you in terms of functionality, but for most situations its more than enough. You put that case down somewhere in the corner of the set, have a few CRMX receivers on your lights a
  5. I think that shooting in the forrest under a clouded sky comes down to mainly 2 things. 1. Negative. To create visual interest under the very flat and at times boring grey skylight, it is always very pleasing to add negative fill to your actors. This works by subtracting light instead of adding it. Most of my daytime shoots outside nowadays seem to work mainly with that and adding a bit of bounce back. For a medium shot like the first one you shared, even a 4' x 4' floppy flag right next to the left side of the frame would to wonders. As your foliage doesn't seem to be too dense, you coul
  6. Its kind of hard to tell what exactly is going on in the left side of the background, is that dark spot where it leads out into the street? You could use that area to have a bit more light as well and kind of have the middle ground (the area where the 3 standing people are located in the picture) silhouetted against that slightly brighter area? However as Satsuki already mentioned, a bit more ambience would probably help. With as spotty practicals as those wall scones, it often looks just underexposed if you try to have those parts correctly exposed and the rest falls into darkness. Are y
  7. That really depends on a lot of factors. Dimensions of the room, what kind of walls are there, what does the ceiling look like. Sometimes, if the camera moves, lens choices and shot numbers permit it, you dont even have to attach the tube to the ceiling, you can just boom it. A picture of the room with a detailed description (and measurements) of what you are trying to achieve in terms of exact placement of the tube would really help here.
  8. We usually store everything in eurocrates, which are cheap, stackable and can be outfitted with dividers. Just remember to always store them with the label up so you can find the right rag with a glance. You could also label the bottoms of the crates and put the rags in the same divider every time, that would build kind of a muscle memory.
  9. Im a bit late here, but thank you very much Jason. I took your advice to heart and a few months ago build a ENTTEC ODE (Single DMX universe node) into a peli case together with a router and have been experimenting with it ever since. I was (and still am) a complete noob when it comes to programmable lighting, but it has opened up a new world for me. I am currently using it only hardwired and it has absolutely transformed my on set workflow. Now I find myself bringing that case with me basically every time I shoot, with the rare exception of an all HMI / outside shoot with just modified availab
  10. I have rented their M18 equivalent in the past. Feels alright in terms of build quality, but even in 50 Hz (so non flicker free mode) the head gave of a high pitched whining noise. We ended up removing it in post - at least it was only evident in a very small frequency range, so removing it didnt hurt the sound, but took extra time and therefore money. Generally speaking the same rules as with all equipment apply - you can buy the off brand product, just expect to make much less money off of it, even if in some situations it might be better suited for the job than the name brand product. If yo
  11. I would just visit your local light rental place, most of the time they have tons of scraps lying around and as tiniest bits are enough for a dedo, you should get all you need there for a small donation.
  12. Unfortunately the shoot never happened (agency didnt fancy the idea anymore), but the animals in question were dogs and lamas. Maybe you are right though Richard, maybe she meant LEDs. I can only imagine that HMIs might be problematic as well, with the high frequency buzz.
  13. Well my reaction was of course I would listen to what she says, she works with them everyday and shoots with them very often, so she clearly is the expert on the topic and I would adhere to the topic. Currently it looks like the shoot isnt going to happen anyway, so its not urgent anymore. I am still very much interested in what others have to say on the subject matter anyway.
  14. So it looks like I am gaffing an animal related TVC soon. As it was a straight studio shoot I was planning on using all tungsten units, combined with maybe a few LEDs. During the first meeting the animal trainer told me that animals would prefer working under daylight units, so HMIs. I have never heard that and was wondering whether someone else could chime in? Obviously the heat could be an issue, but we have a rather spacious studio and the lights would always be going through a 12 by 12 full grid anyway, so there would be only a quite pleasant warmth at most. We will be shooting at a T5.6 a
  15. 1. Not really. In my experience the cheap halogen ones work about as good as the more expensive ones with the exception of bulb life and maybe robustness in terms of resistance to shock. 2. That depends on a wide variety of circumstances. How do you want to use them? As a practical in shot, hanging naked from the ceiling? Inside a lampshade, off screen? In a paper lantern, giving base illumination to a hallway? On what ISO are you shooting and what is the light level you need to achieve that? Generally speaking, as they are fairly inexpensive, I would get a small range of them, from 25w to 20
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