Sam Baker

As an addition, you'll find that lights will be fitted with 16a sockets quite a lot of the time, which is a c form plug. If you're running off of house mains you'll use a jumper to go 13a<16a. Also, a 2.5k will run on a 13a socket, they're widly used, so are very cheap.

As an aside, how do GFCI's differ to RCD's? My understanding is that they do the same thing- tripping if detecting a 30ma leakage for example. I've never come across GFCI's in the UK- although this just might be my lack of experience?

Arri's photometric's app says the safe distance is 1m, which means in front of the light. And with such a tiny light like a 300, it will mean how comfortable it is for talent to be in front of it for extended time.

I sparked on a short a few weeks ago where we were filming on a tube carriage. We used 8 Astera's and a S60. Make sure on the recce you check where the practicles go, we had massive issues fitting the Astera tubes into the housing (it was an old Victoria Line train). The scene was basically a moving train that comes to a screeching hault when the main character enters Limbo. We had two Asteras rigged outside the train above the window at 3200k on a low random flicker as well as the S60 downstage left on Process mode which added big flashing passes through the windows. The rest of the astras were inside where we could flicker them to how we wanted, the astera app allows you to have a flicker-when-held tile, so we had 2 or 3 tiles of different flicker speeds which the director wanted to que to us as the scene got more and more frantic. They also allow you to independantly dim out of shot lights to add a bit of contrast on the tighter coverage. Light reflects everywhere in these carriages, so make sure to have a 12x blackout inside to cover up to where camera is going.