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Jayden Woodards

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About Jayden Woodards

  • Rank

  • Birthday 08/26/1998

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  • Occupation
    Student
  • Location
    Sydney, Australia
  • Specialties
    Lighting and Electricity
  1. Hahaha, that's actually pretty smart. What's the average cost you think?
  2. Aye, thanks for this one. I was under the impression it was called something different here. Nonetheless, that is hella expensive and above my budget. I did have a similar setup to this going. I found it easier to use what I had on hand which was a bunch of milk crates to elevate GFCI's and all connecting points of cords and covered them from the rain with other means. Only things hitting the ground were the cables that were insulated ( not damaged? right terminology for cable rubber not being torn or such?). Thank you so much for this one, was pretty in the dark when it comes to the different practices or terminology between US and AU. Do you practice putting umbrellas above heads? I bought a few but we've been stuck in that terrible rain in Sydney and wasn't completely sure it would do the job if the rain starts going horizontal again. The ballasts, RCDs and cable connectors were all raised above ground with milk crates. Connecting points were raised, gaffed and had a shotty thrown on them to keep them dry. Hogsmesh turned out to be hella expensive for what I can only assume isn't a whole lot. Do you have any insight on how much Hogmesh you'd put on a single light and how to place it? I ran my cables through RCD's placed all on their own circuits, outside with milk crates elevating connection points (taped and shottied on top), with a marquee above lights. Was what we had on hand and I always ensured that there was enough headroom for heat to not become an issue under there. Ballasts and RCD's were raised above ground on another milk crate under the marquee.
  3. What about a place in LA, just so I can use it as a reference for the places in Aus. May be called something different.
  4. Do you have a link as to where I can buy Cello Wrap? Googling around doesn't really show much apart from some way off topic things. I used milk crates to keep connectors off the ground and taped them up with gaff with a shotbag on top of them to keep it dry.
  5. I did see that posted on THIS POST too. Wasn't too keen on having rental lights out in the rain and then if something were to happen to have to explain ' yeah, I just put it out in the rain'. I did, however I did decide to test a 1k Fresnel in the rain after letting it run for a couple minutes, and it was hot enough to not change or show any wear. I saw that water could shatter the glass of a fresnel if its hot enough and water hits it?
  6. Hey there, Just finished a shoot that was primarily creating a consistent daylight by using HMI's through windows of a building and found that rain is one hell of a pain to deal with. I'm curious as to how you deal with water and lights outside and any methods of keeping dry outside in these situations. Personally, I called in some favors and ran Marquees on top them and bunched them up in pairs.
  7. Hey hey, Thank you so much for the reply. I definitely left out some information here. So we do NOT have a location as of yet, but the stores we're looking at thus far are running on a pretty standard setup for power for most stores in Australia. I expect that there will be multiple 20A circuits leaving us with 4800w per circuit. Generators are a possibility and will most likely be a strong consideration come testing and upon finding a location if we do need the extra power. My concern in regards to the front of the store is the glass as well. We're pretty limited with budget and gear and the front glass of location is something I don't know as of yet to get a clearer reference. Backlighting the roof smoke was a consideration but I'm still looking at ways to convincingly spread the light enough to avoid light beams and also create that strong gradient in the orange and yellows. Have you got any tips for the front glass of a shop front in terms of creating a convincing looking fire? You're right. Adrian also mentioned not using HMI's. My impression was that the stronger power drawing less power would make for more room on a circuit(s). I don't have huge amounts of experience with HMI's either so I'm giving a pretty unexperienced suggestion for myself.
  8. This seems like the easier option but also depends on the type of post-production budget we have. I haven't spoken to any of our editors about their own skill level with such things. HMI's were just an option for some of those higher more brighter parts of the 'flames'. Pretty sure skypanels to rent are a bit above our budget if we need multiple. I have access to quite a few 1K and 2K tungstens. CTO's on a HMI would work for the color, surely...? Have any practical suggestions for how else I could manage this?
  9. Hey there, I'm gaffer for a short film coming up and the director has made me aware we don't have an SFX team to direct a large store fire. They want one wide shot of a countryside store being set up on fire and burning. Here's my current idea: Pump several smoke machines inside the building to make visible windows and openings smokey, and then (somehow) find a way to create an upwards smoke stream into the sky, whether we have roof access or not hopefully large fans and smoke will be enough power to push it up. I would put some large lights (1k and 2ks, HMI is needed) to bounce off reflectors based on the ground to spread the light and avoid light beams in the air. Orange and Yellow gels to sell the color. I haven't done this thing before and will be commencing tests in a month time. I'm looking for some suggestions to test and even some experience to be shared so I can get a better grasp on what I'm going to need. Thanks! Two photo references attached as location and fire references.
  10. I was just a gaffer for a short film where the director is a haze fanatic, and we had a similar thing happening. I would definitely start the camera and set your shot before hazing, as most things, it'll look different and will affect the camera differently to how you see it. Haze a little then add more as you need it. We hazed into things in the background of our set to stop it from spreading everywhere. I also found that my cine asked for a lot more lighting intensity after hazing so that he could get the focus on the actress, this may also be a factor in your blurry and hard to focus shots.
  11. That was the actual menace arm that I was looking for within Sydney. Couldn't find any for daily rent. Unfortunately, the shoot was last weekend, hence my late response. We resulted to the same setup using C-Stands and worked with production design to install some more stabilization for the arm on top of the flats it was raised over. We planned to fly an Arri Blonde 2K, but resulted to an Aputure 300d for the lighter weight and color tone. It worked for what we wanted in the end while drawing less power.
  12. Looked for these already in my area and surrounding, and nobody seems to rent them daily, and the one person who does has it overseas for a shoot. Any other solutions?
  13. Hey there, Currently looking for a solution to rigging a 2K above a large set inside of an industrial coolroom. We did this the other day in a way that I would like to avoid doing again due to its stability. Old Solution: C-Stand with cartalini gripping another C-Stand shaft at full length. Light at the end of that arm, Everything was shifted back by roughly 15 degrees and added 75kg of shot bags to the other end for counterbalance. Once raised, it was panned across and then ratchet tied to scaffold that was inside the coolroom. Rough Floorplan: https://imgur.com/a/zPrlZHq We were/are limited to a few things right now; * Stands - C Stands are our best stands as of right now. I have the option to hire out another that is more suited, this is what I'm mainly looking for right now, but the footprint of larger stands don't fit inside the area we have. * Can't light from the inside of the room - a lot of it is handheld and wide angle that covers the majority of the room. * Flats can't be moved ( weight of the set pieces inside) *Flats start at 2.4m at the door and end at 3.2m behind the bed. * Roof of set is completely defused. I'm primarily looking for a better stand to help raise and reach that will be more stable than the c-stands with all the weight that was on it. Thank you! Jayden
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