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Found 19 results

  1. 1-arri s30 lite diffusion retail= $90 1-arri s30 heavy diffusion retail= $90 1-arri s30 intensifier retail= $240 1-arri s60 lite diffusion retail= $120 2-arri s60 30 degree hard grid retail= $740 1-arri s60 60 degree hard grid retail= $370 Retail total =$1650 $900 obo for everything I will sell individually but I prefer to sell the whole lot. All of these items are practically brand new in the box. Just opened to check my order. and they never saw any use. And when I sold my lights they were in a separate location therefor they were not sold with the lights. I have no use for these so I am trying to sell. Your chance to get some new stuff at 1/2 price. Feel free to double check my pricing. I looked at multiple websites since I never keep any records. Check out this item on OfferUp. https://offerup.co/0qVrtMSjRAb
  2. I am currently writing my dissertation, assessing the quality of light produced by established diffusion and bounce materials in comparison to LED fixtures compatible with new diffusion solutions, such as those with variable electronically diffused panels. In order to support my secondary research, I have created a series of questions to gain insight from industry professionals and specialists on the future of lighting and diffusion. If you feel you can answer all or any of the following questions and are and industry professional or specialist, I would appreciate it greatly! Q1. What are the advantages and disadvantages of colour tuneable LED lights? Q2. What are the advantages and disadvantages of diffusion filters/materials? Q3. What is your opinion on new LED electronically adjusted diffusion panels and what do you know about them? Q4. Do you think electronically diffused LED panels can replace industry standard diffusion filters/materials and why? Q5. How popular are electronically diffused LED panels and do you think manufacturers will produce more? Q6. Where do you see electronically diffused LEDs in the industry currently? Q7. What is the longevity of electronically diffused LED panels compared to diffusion filters?
  3. I'm shooting a music video inside a restaurant with drop ceiling (location) and would like to create practical overhead lighting (like this) to give us more freedom with our framing. In the example above -- it looks like they popped out tiles where they needed light, laid out a large cut of diffusion across several tiles and placed individual fluorescent tubes (astera, quasar or kino?) on each rectangle. What do you think? Can anyone provide any helpful ideas on how to achieve lighting like this on a modest budget? The restaurant also has several 3-bank T12 fluorescent fixtures already installed. I'd like to replace these fixtures with T12 kino tubes but the location is pretty dated and I'm worried about flickering because of old ballasts. How can I tell if the ballast will produce a flicker? I looked around the fixture and didn't find any specs printed on the side.
  4. As winter is coming ski tourism spots are amongst the go to jobs in Winter here in Austria. I am lucky to shoot a rather narrative one, probably on Leica Rs. As the Elmarits are rather sharp I am looking for some mild diffusion. Camera will be Amira or Mini with mandatory UHD capture. Shooting outside in wintertime has brought me some problems with diffusion and I found Pearlescent (which I often like to use indoors) as well as ProMist to be unfit for the cause, the halation in bright areas is - of course - affecting snowy parts of images to a great extent. Does anybody have experience using diffusion filtration in such areas (I guess salt deserts / bright beaches, etc. would also apply) and found a good solution?
  5. Hey everyone! Long time reader, first-time poster. Recently, in a number of films I've been watching, I've seen a vast amount of ways to light through windows. I brought this subject up to a lighting professor of mine and we've been having discussions on it since. I know that to create realistic and natural window lighting, you need to use a mixture of hard and soft light to represent the sunlight and the soft skylight. Of course, the mixture and positioning of these depend on the time of day you're going for. I haven't had the time to do any tests of my own, but I will attempt some soon. I have a few questions when it comes to this topic: 1. Have any of you done this in the past and how have you accomplished it? 2. What type of fixtures and diffusion have you used? 3. Do any of you have any experience using tracing paper on the window itself? And if so, is there a fixture that would still be able to push hard enough light through it to represent the sunlight? I'm completely okay with windows blowing out, especially when working on low-budget projects where you don't have the resources to light whats outside the window. Thanks!
  6. Hey everyone! First time poster and relatively new member to the boards. Was trying to rack my brain around on this and figured it'd be worth a shot asking here. I'm preparing to direct/shoot a music video next weekend, and I need some advice on choosing a diffusion/beauty filter set. Plan is to shoot on the Alexa with a K-35 25-120mm Macro Zoom (as well as a 14mm Canon Optex if we really need the width). Utilizing HMIs and some Astras for the lighting package. I wanted to give the video an older film feel to the image, which I'm aiming to do via the lenses and using harder lighting via the larger HMIs. I also wanted to use some beauty/diffusion filters for the last touch, since I'm a big fan of in camera filtration as opposed to post. I'm currently torn between two choices, either the Soft FX series or the Mitchell Diffusion series. Now there are a TON of videos online which help show the effects of Soft FX, and to be frank it seems like a great choice for flattering the talent, while still mainting some sharpness (not to mention they don't seem to go super crazy with the halation around sources in frame). But since I wanted to give an older feel to this video, I thought about maybe going with some older vintage filters. This led me to learning about the Mitchell Diffusion series (Strengths A-E). I like the idea of using older diffusion filters, but I'm worried because for the life of me I cannot find any relevant info online about them, save for a really unsatisfactory test on Vimeo. I emailed Stan at the Filter Gallery here in NYC about it, and he mentioned that Soft FX has oval shaped lenslets, while the Mitchell series have a ripple effect. Has anyone ever used the Mitchell diffusion before? I'd love to hear some first had experiences with them, or if possible see something shot with them. Even some screen grabs will do. I'm going on Wednesday to check them out in person but I wanted to see if anyone here had any relevant info to share. Thanks!
  7. You all know that harsh Sun of summer in Rome was a problem during the filming of To Rome with Love so to battle it and create the desired lighting, Darius Khondji and his team used diffusion balloons from ALF Service in Milan. This is how that looked like in Piazza della Madonna dei Monti: They remind me of inflatable air mattresses, that swimming pool/beach toy that, I see now, has a few other names in different varieties of English. I was wondering has anything like this been used elsewhere and how fairly standard is it as a piece of equipment?
  8. Hi everyone, I am a student currently writing about diffusion filters in a short research topic for my BA course. I was wondering if anyone could think of any topics extra I could cover or speak about in more depth. So far Ive spoken about: basic introduction to difference between soft and hard light the various diffusion gels available, EG Frosts, Silks, White diffusions and Grid clothes etc. the results of these gels the effects of strong vs weak diffusion on the tone of a model The visible transmission and light absorption of diffusion gels The effects of increasing and decreasing the gel position in relation to the light and model The pros and cons of Heat resistant vs non heat resistant gels how strong diffusion can be used to combine multiple light sources and some difference in quality between brands What else can I talk about? Thanks Matt
  9. Hello cinematographer , I have seen this commercial and I wonder if there is any kind of lens filter to make that diffusion ( I am not talking about the haze smoke , there is different thing is happening there ) Even the external scenes have that diffusion . If yes , there is lens filter , what is that ? I hope I did make myself clear . You can see that on this video : Appreciated your help .
  10. Hello, I am and enthusiast cinematographer in the process of learning and experimenting. I like how the highlights glow in "The great beauty" and other films and I would like to know how to achieve something similar with digital cameras. Aspects I like are: - Detailed but soft (unsharped) images - The light sources seem to glow - The light goes a bit into the boundaries of the shadows - The highlights have a nice roll-off - The light rays can be seen. Aspects I dont like: - Dreamy effect where everything seem to glow - Clipped highlights with bad roll-off I guess some of these aspects are related with the use of film, that I like a lot. After some researching I have reach the conclusion that using diffusion you can get similar results. Filters as Soft FX and Classic Soft seems to help reducing sharpness and some of them seem to create a nice halo around lights. Filters as Black pro mist, Glimmer Glass, Pearlescent and Black Frost seem to "make the light visible" around light sources which i also like. Also there are combinations of some of them with mixed properties. I haver never owned or used a filter, they are expensive and I don't know if they are the solution I am looking for. Do you think that filters are the solution for this? If you could only buy one or two to get this kind of image and the aspects I like, which one would you choose? Thanks a lot!
  11. I am confused with inverse square law and diffusion material. Do you calculate the intensity of light falling off over distance from the head or from the diffusion? I love key lights with a "creamy" softness to them as well as being the subjects eye light. (Of course, there are numerous situations where I just can't do that style of lighting) Additionally, to sell the creaminess of the key light, I always try to have the eye light fade away from one side to another. (an example from Dearest Jane, a feature I shot in August 2013) The above shot was lit with a Tweenie through a 4x4 cut of quiet grid. It was directly off frame right (and I think I had some 251 on the head for additional spread onto the cloth and to cut some intensity). I used to keep my diffusion as close to my subjects as possible and pull my head back so I can get that fading eye light effect as well as to maximize softness. I've learned the hard way that stacking lights and diffusion right outside of frame limits frame mobility and actor mobility severely. A very bad (and rude) thing for a DP to do! Today, I typically use a strong source (such as a 1.2 HMI) shot through a large frame of diffusion (such as an 8-by or 10-by) at a substantially far distance away. However, set ups of that size require a large amount of space. I've recently been shooting on cameras with higher native ISO's (such as the F5). I've started to move back to the above lighting set up I did above, but want to maximize my use of the inverse square law. There are some situations where I can actually bring my diffusion material very close to the subject and still allow them to move freely and only gaining/losing a quarter of a stop. However, do you start calculating the inverse square law from the lamp or the diffusion material?
  12. Hello everyone, I need your help. I'm currently a film school student. I will direct a very short film/exercise (one day of prep one day of shooting) in 40 days. So the mood and the set design will be a weird mix between Kubrick films (2001, Clockwork..) and THX 1138, kinda. Anyway we have this 4 by 10 meters set at school, that has no ceiling. But I have one obligation for this exercice/short : only use a 16mm lens (on the Alexa). 10 meter long room, 16mm.. I'd better need something as a ceiling. I'd want something white I could use as a diffusion so that the ceiling would be a giant soft source. So I have two questions for you experienced people : What would you consider for the ceiling (doesn't have to be realistic at all) given a very limited budget. What kind of light could be use above that fake ceiling, to create a high-key look overall (the set will be mostly pure light with some black lines to give some perspective, the costumes black and white as well) (we have tungstenes up to 4K, hmis up to 2.5k I think and kinos) I'll also have some diffused light coming from the walls (I'll remove the windows of the set and place 216 frames instead) Thanks everyone !
  13. At the forthcoming BSC expo in London, Carey Duffy of Tiffen UK will screen the Tiffen 4K Diffusion tests I shot for them late last year. The tests consisted of a series of simple comparisons between every brand of Diffusion filter Tiffen currently offer and serve as an excellent reference. Designed in conjunction with Steven Poster ASC the test is a simple, but very effective, starting point for a Cinematographer to compare the effect of Tiffens range of Diffusion filters before selecting specific filters to test under their own lighting conditions. We wanted to keep as many of the parameters as simple and unbiased as possible. The light is soft but not too soft to allow us to see the effect of the filter. The half light allows us to judge contrast changes, the backlight and bare bulb allow us to see blooming. Similarly the Primo primes were chosen because I felt they were a). familiar to most Cinematographers worldwide and B). sat somewhere between Master Primes and Cooke S4's in terms of sharpnes and contrast and therefore would be a better lens to showcase the effect of the filter. Shot on a Panavisied Sony F55 in 4K the tests will be presented in 4K at events around the world over the coming months. I believe the idea is that eventually Panavision and Technicolor, who co-sponsored the tests, will have copies of the 4K DCP as reference for projection in facilites around the world, so speak to your local Panavision/Technicolor rep for details, or contact Tiffen directly. For my tastes the current generation of 4K+ cameras are just too sharp, especially when projected at 4K, so for me I cant see myself shooting without some form of filtration either infront of, or behind, the lens, especially if I think the project will be projecting in 4K. I also think a lot of the diffusion filters give the image some texture, something I find lacking in most digital images. It'll be interesting to see how many people feel the same way and perhaps we'll see a resurgence in the use of Diffusion over the coming years. Regardless, these tests should still be a very useful reference for us over the next few years so keep an eye out for them. There's a few BTS images and brief video here along with a few other notes on the tests http://stephenmurphydop.blogspot.co.uk/2014/01/notes-on-tiffen-4k-diffusion-tests.html
  14. Hi folks! I don't know If I'm in the right forum for this, but I need some help to find a specific sort of lighting filter. I'm looking for a filter that diffuses the light but doesn't add that white color, more like a "clear translucent" / "non-white" frost / diffusion film. Rosco has got a lot of different filters, for example: E-Colour #216: White Diffusion E-Colour #220: White Frost E-Colour #480: Full Atlantic Frost E-Colour #253: Hanover Frost E-Colour #129: Heavy Frost etc. I've made two comparison pics in ps so it would be easier to explain, notice how the second example diffuses equally as much but doesn't add the white color to it. For example (#1), this is a white frost film: ...a this example (#2) is a "non-white" frost film: I don't know if such a diffusion film exist, but if you happen to know any please let me know, I would really appreciate it! Best regards /Patrik
  15. I have a shoot coming up where the director wants it to have that glow look made popular in shows like The West Wing and used recently in the Coen Brothers' Inside Llewyn Davis. The look in question has blown out, glowing highlights and a generally diffused image. I know how to do this effect in camera with filters and somewhat hard lighting and can also instruct the colorist to apply the effect in post. I've never done a whole show with this look so was wondering what DPs experienced with the look thought was the better method of achieving it.
  16. Hey a small query..so i was planning to apply a black stocking behind my lenses. The rental company wouldn't allow me to glue them or tape them, hence the method i applied was put a rubbed band behind my master primes..i was pretty happy with the result. However a small query...has anyone tried this before? i mean applying them with a rubber band? i am little concerned about the heat generated...will it affect the rubber band and make it slip? just wondering how safe is this method?? cheers
  17. I acquired a 4' x 4' frame made of 1" square aluminum tubes and would like to mount it to a c-stand. I am aware of mounting methods involving clamps and gobo's, but how does a Flip Flop Ear (http://www.filmandvideolighting.com/1sqtuflfleam.html) interface with a stand for mounting?? Thanks in advance for your insight! Hugh ps - first post
  18. Hello everyone, Do you have any info on the Panavision Primo Classic "soft effect" mode? I know it is an optical, variable diffusion effect, but I have yet to see the effect on an image. Any links or screenshots? This function is only available on the 24, 30, 65, 85 and 125mm, and I wonder if it cuts well with the other Primo lenses without the effect. Best,
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