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Barnaby Coote

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  1. Little gel 'sleeves' cut to size on cheap fluos work great, you can use little bits of tape or a strip of 1/4 inch gaff, then rotate the sleeve around the tube so the seam is hidden. It looks as if the tube was made to that color.
  2. I'd suggest trying Rosco ND frost or dark grey translucent acrylic for back projection, it keeps contrast and saturation a lot better than anything white. The highlights will pop a lot more than with black material too.
  3. I haven't used them personally but some rental places carry 'venetian blind' type shutters that are controllable via dmx. They are designed for HMIs in a variety of ratings so you could dim a high power, unreachable daylight source if you want to. Might help you get the hard light through the window effect you want for the interiors.
  4. I find a good way of guessing lux or fc based on a distance is using the root of two scale, which are basically the lens f stop numbers (1, 1.4, 2, 2.8, 4, 5.6 etcetera). You lose half your intensity (or a stop) for each of these numbers, whether its feet or meters. So if you know you have 3000 lux at around 2.8m you will have 1500 lux at 4m and 187 lux at 11m. Same goes for feet and fc, so footcandles would be halved between say 11 and 16 feet or quartered between 5.6 and 11 feet Around 250 lux or 25fc will give you a T2.8 @800 iso which can help you do a rough estimates on what siz
  5. Some variety of matthboom that fits a baby pin, like a Matthews baby boom. https://www.bhphotovideo.com/c/product/33149-REG/Matthews_427801_Baby_Boom.html
  6. The PWM dimmers I was looking at were in the 200Khz range, which is higher than HMI ballasts, and can take a lot of power. Plus not they're not overly expensive ($30-50) and have bi-color options. I'd stay clear of anything from amazon and ebay though.
  7. The diy perks setup looks cumbersome and a bit flimsy Yuji have high CRI mono and bi color strips, and high frequency dimmers https://store.yujiintl.com/ Was planning on having a go at DIY-ing some 2x1 panels, using thermo-conductive epoxy to glue strips to aluminium plate, then encase it in diffusion silk and black ripstop fabric. Maybe with eyelets or velcro in the corners to assemble a larger panel out of several 2x1s. A 200w panel would run for about $200-300. Would love to hear from people who have made their own.
  8. the Arri photometrics app does this and covers all arri brand lights
  9. Omg, that's worse than I thought. I had some info from a small but reputable manufacturer who said the main problem with carpets (even the ones from aladdin) is that after a certain number of bends the copper wiring in the mat will almost certainly break. The only other viable option apparently uses fairly exotic automotive industry tech for the wiring but that makes the mats prohibitively expensive. Nice to hear that they improved that much on the 300d mkii. Did they fix the leaky fresnel ?
  10. I wouldn't say the noise is a deal breaker for sound rec. The mark i has the ballast separate from the dimmer and has an extension cable available which means you can put the ac ballast outside the room. That little ac unit makes a lot more noise than the actual light. When set to "auto" the fans in the light make the same amount of noise as some cameras, but the noise will increase if its at high power and you don't set it back to "force" between takes. Its manageable but an extra thing to deal with. I haven't tried the mark ii. It's still probably one of the most versatile lights y
  11. I hadn't noticed the prizmo in your list, I wasn't aware of this one. Has anyone used it ? How does it measure up to an s60 ?
  12. What sort of shoots are you doing ? Interviews and b-roll or more narrative stuff ? The lights you listed are a mix of soft and hard lights, Rgb/mono/bicolor. maybe you should figure out what you need to prioritize in regards to color temp, softness, battery mobility, case size, etc ? It's hard to find a light that will do everything and that will also fit in a small bag. The 300d is handy and pretty versatile in lots of situations but it does have quite a few drawbacks, namely lots of fan noise from the ballast and the not terribly practical accessories. The barndoors won't fit the
  13. Your reference pic seems to be mostly lit with dimmed practicals. There is an overhead lamp which is giving the room a sort of base level, then the close lamps right and left are lighting the actor's face. They are pushed against the wall to create nice shapes that quickly falloff, and they are dimmed down to make them warmer. The light to the bg right could be used as a soft-ish key or backlight if an actor moves towards the foreground table (where they would also be lit from top). But it also provides a nice contrast between the two spaces on that particular wide shot. Placing practical
  14. My main concern would be the look. I already have a water based smoke machine that I got a long time ago, a martin magnum 850, its smoke eventually turns into a somewhat heavy haze, but indoors it takes too long to even out, it's very hard to keep the level consistent between shots and there is always a bit of graininess to it. How do water based hazers compare to the df50 ? Would one really be any better than the martin machine I already have ? What about fire systems ? I've never used haze in a public building yet, but I've heard smoke detectors are getting much more sensitive than
  15. Great, thanks ! I'll have a look at that machine. I'm not in the US but I'm guessing water based is preferred for comfort and long term health concerns ? What are the drawbacks to water based apart from cost ? Is it less smooth & even ?
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