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David Mawson

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David Mawson last won the day on October 14 2017

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About David Mawson

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    Manchester
  1. I appreciate the suggestion, but no. Between rain - this is the UK - the need to put someone outside to stop gear being stolen, it really wouldn't be a great idea. Plus it only works if there is a window and you can the subject near it, in which case either of those two cameras could get the job done without lights. The point of using lights is to handle the worst cases in a way that gets a consistent look. And psychologically, I think the problems are even worse. Gear on the other side of the window is still gear, but now you're shooting near a window and drawing attention from neighbours aimed at that window.
  2. Yep. That's the biggest problem of all. And getting it up high would be appalling business. You could steer the light with reflectors and fresnels, I suppose. But honestly, if I thought a system like this was viable outside of a few very special niches - eg a low budget film that needed a lot of light and had a tech savvy crew - then the last thing I'd do is talk about it publicly.
  3. No, with the right tank design you should be able to convection cool. The LEDs would heat oil and it would rise to the cross stroke, where the large surface area would let it cool fast, then it would sink again. To aid flow I'd put baffles in the tank like those shown in the convection cooling system here: https://en.wikipedia.org/wiki/Server_immersion_cooling And I'd probably make the top of the tank much wider than the body - think of an L rotated through 90 degrees, or maybe just a T. That way you'd have a lot of air-cooling at the top. The baffle design would need a little modification for that. And/or the top could have the fluid rising into a system of fins or you could half immerse a system of copper fins in the liquid. Those would be my concerns, yes.
  4. Excellent editing. Doesn't look low budget at all. The only ghost of a problem was that some of the dialogue in the early corridor scene was indistinct.
  5. Bruce Sterling especially Schismatrix, Holy Fire and short story collections. James Ellroy, especially the original LA books. Chester Himes. Walter Mosley. Bulgakov's Master & Margarita. Nabakov. Babel's Red Cavalry. Seth Morgan's Homeboy. The Godfather.
  6. This is probably a crazy thought and I'm certainly not willing to try it, but sometimes PC builders fill the cases of overclocked machines with cooling oil. Really - this is NOT a joke. Perhaps an aquarium filled with oil and LEDs would work. The LEDs would need attaching to the glass and a heatsink attaching to each to transfer the heat to the oil, after which convection cooling should kick in. You'd want to keep the case vertical and direct the light with reflectors or fresnels. Good luck getting insurance... (And I hereby disclaim all legal liability if someone wants to try this.)
  7. UK lighting prices are shocking. The best deal seems to be Aputure - good CRI, no reports of fan noise. I'm thinking of one of these https://fenchel-janisch.com/cheap-led-lights-aputure-amaran-528-review/ ..If it's a bit anemic, I could aim two at the same diffuser or bounce. And it has some convenient softbox options, although they seem a little small - https://www.aputure.com/products/ez-box
  8. Unfortunately renting won't work out well - the plan is for quite a few short interviews on different days. That's an interesting point about bicolour - something I hadn't considered at all. And I appreciate the reminder!
  9. Thanks - that helps a lot too! The other thing I'm discovering, coming from stills land, is that cheaper LED systems with decent CRI often have nasty fan noise...
  10. That's excellent. I started with that plus a reflector for fill and a rim light, then when I found the set-up I posted, I never considered that I could get the same outcome by simplifying the LED softbox system. And I could still carry a combined reflector and flag and get someone to hold it or tape it to something in an emergency. Thanks!
  11. No, they really don't - not the ones with an electronic shutter and a "stealth mode". However, the e-shutter can suffer from jello. And Sony have an appalling reputation for support among stills photographers, although I think they're trying to fix that for pro's now.
  12. The shoots will be in day time. I'd consider blacking out windows to avoid mixed lighting too intrusive. And shooting with an inconsistent lighting look, high ISO, and mixed lighting sounds like a recipe for a disaster, even with an A7s.
  13. Sorry: I should have said that I wasn't planning on using that exact light. It's the overall set-up. Ie - Light bounced off the reflector to make it big and soft - Flag to protect the interviewee from distracting light and increase contrast - Those small tweaks to the flag with white paper Re stands, I was planning on using large folding reflectors or stitching together something custom. It's indoors, so no winds. There's no problem putting together something out of instamorph and kite spars to hold them up while looking less intimidating than a normal stand.
  14. Macks - I'm considering it as an option. But even with an A7s... this is the UK we're talking - often the NW UK. And some of the shoots will probably be in winter. Some of them may be in ***Scotland*** in winter, and the only reason that vampires don't overrun the streets of Glasgow 24 hours a day at that time of year is that they can't stand the taste of deep fried Mars Bars in their blood.
  15. My girlfriend is working on a project with high functioning autistic people. (She's HFA herself.) They're being asked to talk about subjects that are very personal to them and a lot of them hate bright light and have big problems with people invading their social space. Autistic people also often have strong ideological feelings about what they see as insincerity - so the use of intrusive lighting gear to create what they might see as a lie could be a problem. But most of all I want to avoid - Bright, concentrated lights - Complex looking set-ups - Intimidating gear close to the subject's face - Long set-up or take-down times I also need a soft, friendly lighting look. And we're shooting in the UK, so window light is about as unreliable as it gets. Interviews can be shot entirely seated and the camera will probably be a Fuji XT2 or Sony A7 series. At the moment this looks like my best bet https://www.provideocoalition.com/the_simplest_fastest_interview_lighting_setup-ever/ ...But I'd love to find a way of not having those 4x4's close to the subject. (Also, any flags and reflectors etc have to fold away so the entire set-up can fit in a single case that looks reasonably like "civilian" luggage.)
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