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Found 24 results

  1. What are some of the most common lighting setups a gaffer , new into the job , must be aware of ? Could you share photographs along with each ? For Eg : Lighting up a green screen studio , Day to night & Night to day setups , Interiors with & without windows , Lighting up the same inside a studio , Lighting for different times of the day
  2. Hi everyone, as I'm involved in low budget filmmaking, I'm interested in knowing what I can do lighting wise, when shooting in houses and just using the regular wall plugs, without the gaffer having to do any setup for bigger lights. It's a topic where I feel quite rusty. In the US, I believe your theoretical limit is 120v*15a = 1800W per circuit. In France, we can in theory go up to 230*16 = 3680W. 1/ At the rental place, is this effectively the thresholds that divide lights that come with regular plugs and lights that don't (32A only) ? 2/ Does that mean that some lights (for
  3. Dear fellow filmmakers, I'm having a hard time finding top notch resources for learning more about lighting. Anyone know of any great (free) webpages, magazines, instagrams etc. ? I'm particularly interested in 'expressive/creative lighting', examples of use of cutter flags, explanations from features, etc, preferably from someone working in the field. All the best from Copenhagen, Malthe Ejlers (see my latest work below for the type of filmmaking I do)
  4. Hello everyone! As jobs get bigger, the need for a floorplan software gets bigger. What kind of software are you using? And on which platform are you working?
  5. Hi, We are two technicians working in the film industry in France (a grip guy and a gaffer) and we just discovered this very interesting forum. We particularly noticed that gaffers and cinematographers were asking questions about light output and what aperture is obtained at a certain distance. It happens that with the help of two IT engineers we developed an iOS app responding to this question about 2 years ago. First and for all, we’re not going to post messages everywhere on this forum to sell our app nor are we going to pollute your threads to gain in visibility. We just think s
  6. As a DP, how do you communicate your orders to your team on set? (e.g. Light ratios, light modifications, rigging)
  7. Hi Everyone. I am new to this website. My name is Tayyib Mahmood and I am a film student at Birmingham City University. I am writing a dissertation on a comparative analysis between LED and Tungsten Lighting and I need of a few interviewees. This can be done over video call (Skype). I am in need of anyone with industry experience who would like to give me their opinion on Tungsten and LED lighting and which would be dominant within the upcoming years. Thank you, Tayyib
  8. Good evening ladies and gents, I just came back from my C&G BS:7671 18th Edition exam and realised that I'm still missing some information regarding the legal requirements to call oneself a lighting designer/gaffer/spark in the UK. I thought maybe it would be a good idea to open a thread about these details especially here where(UK) you cannot just decide overnight that you want to be a gaffer but actually need to get qualified. My questions are What are the minimum requirements to call yourself a Spark or taken seriously as one? (besides BS:7671, I heard that also NA7909(3)
  9. Hi all, I am headed to Louisville, KY (location is close to the airport) to shoot manufacturing floor b-roll and customer interviews. Need a Gaffer with 1/4 ton along with a dana dolly on baby rollers and a Joleko (400 or 800). We shoot on 9/18-9/21. Out of town crews would need to treat as a local. You must have a valid US Government issued ID (a current driver's license will do). My client is a DOD Contractor so if for any reason you are not comfortable working for such please do not respond. Please contact me at sid@firstframe.com Feel free to text me @ 9785010488 - I will
  10. I wanted to add my new book as an option alongside the classics from Blain Brown, Harry Box, and John Jackman. Shaping Light for Video in the Age of LEDs; a practical guide to art, craft, and business of lighting. By Alan Steinheimer. 2018. Available now at Amazon and B&N websites. Shaping Light ... is a practical, hands-on guide to lighting for video. Using a Dummies-style approach, the book explains lighting techniques through real-world examples, including recent updates on the groundbreaking use of LED lighting and wireless control options. This book focuses on firsthand applic
  11. Hello Every One! Thanks in advance for checking out my post. So as the title says, my work is building a video studio. I work at a toy company as their in house video guy (1 man department). This is a brand new position and its quickly evolving. When I started, I was making simple product demo videos for retail sites and social media, now we are building a studio with the goal of producing some of our TV commercials in house. That being said, lighting equipment is not my strongest area of expertise. Basically my question Is, If you were investing in lights to build a professional studio
  12. So, I've posted this on a few forums, and if you've seen this already, I apologize. I just bought an old set of Came TV 900 LED panels for a very low price. They are very bright and the quality of light is great, but they have a magenta shift. Do I send them back or just buy some plus greens and go on my way? Does anyone else own these panels, or have this issue?
  13. Hey everyone, I'm currently a student studying cinematography, and have found some dilemma when working with a gaffer. Often times I am very controlling in pre-production; I know exactly what light I want where with what gel and how many foot candles it will read. However, I feel like just handing my gaffer a floor plan is a disservice to them as a part of the creative process. What is your experience/take on the Gaffer-DP relationship? Where are the lines drawn? Who does what when in pre-production? Thanks a million!
  14. Hey all! Newer to the forums here. I'm shooting a senior thesis project coming up next weekend, and like any student project I'm trying to always up my game to the next level. We're shooting a lot of daylight exteriors, and I plan on setting up a lot of 10x's with diff to just get some more control of the light and to keep it consistently soft on close ups. My understanding of the workflow between G&E is still growing, and I was wondering what the gaffers role would be on a daylight exterior scene? It feels to me more like we would only need a KG on a day that we're just fla
  15. I'm just wondering if anybody could break down this scene in terms of lighting for me. Im shooting a short film for somebody next week and would love to achieve this sort of lighting set up. what i'm looking for is Light ratio Temperature softlight/hardlight Colour Gels Filters Lights that are believed to be used colour scheme Practical lights lighting position If anybody could help me out it would be greatly appreciated Thanks
  16. How do you hold your gaffer tape? Not using ToughGaff? Come visit us at the NAB, central hall, booth#C12636 Or check us out here, and buy online: www.toughgaff.com
  17. How do you hold your gaffer tape? Not using ToughGaff? Come visit us at the NAB, central hall, booth#C12636 Or check us out here, and buy online: www.toughgaff.com
  18. Owner/operator of a 2 ton lighting and grip package loaded with brand name industry grade tungsten, LED, daylight balanced and fluorescent lighting fixtures together with a full compliment of grip rigging gear, frames, flags, nets, stands and carts to support your next production. Providing SoCal with professional lighting and grip services for over 14 years. All my gear is meticulously maintained, serviced regularly and checked before every shoot. ARRI 1200w and 575w HMI Pars, complete tungsten package from 200w up to 2K open face and fresnel, Chimeras from 16x12" up to 4x3' including the Chi
  19. Boa Solutions Inc. 222 Islington Ave, unit 13 Etobicoke , ON M8V3W7 Open by app't, to suit production schedules, 24/7/365, but generally there 10am-8pm M-F, unless a booking is happening earlier. Website and pricelist going through huge update, and will all be at http://www.boa.solutions . Before that, please contact me for gear availibility / suggestions, and go to http://www.boastudios.com for the studio spaces I rep. Hi, I am Mir Lada, a Lighting Designer / Gaffer / Grip / Production Still Photographer that is owner / operator of this boutique motion and still production equipm
  20. Hi guys, new to this forum, I'm a London based lighting tech cutting my teeth in the industry. A year and a half working on sets, loving every minute. I love cinematography with a passion, and lighting is key. I'm hard working and diligent with a great sense of humour. Feel free to check out my credits and get in touch if you ever need a pair of hands. Josie http://thisbrightspark.wix.com/josiewilliams#!credits/cnec
  21. Hi, I'm currently a junior studying at NYU. I will be graduating around January 2015 and I am trying to plan for my future afterward. Long term, I'd like to become a cinematographer but I'd like to get there through gaffing because I genuinely enjoy working with lighting. I figure I gotta start getting grip and electric jobs. I am pretty skilled working with most basic to intermediate grip equipment and lights and am able to run power from breaker boxes to distro boxes to lights while adhering to the ring of fire. I'd prefer to join a union as soon as possible in order to get consistent w
  22. Hello! I'm planning for a student short and have just discovered the church we are shooting at has no mains sockets. The plan is to hire a 2.7kwa generator & run the (potentially 4x350w & 1x600w for a total of 2000w) lights this way. Is there proper procedure for grounding the generator/how should I go about this? Will using a 4-way extension cable for the lights be feasible or does this create any sort of danger? The company we plan to hire from has recommended that the generator be 20m or so from the building to keep noise to a minimum. Does this sound about right? Also, the estim
  23. Hi Guys, This is a bit of a long one I warn you, but I'd really appreciate any advice or suggestions people might have. I've reached a point in my career where I want to focus more purely on lighting and camera, and move away from the various ancillary creative freelancing jobs that have (till now) supplemented my film work. I'm pretty good at what I do now (and perhaps more importantly - I'm good enough) so I want to put together a small lighting and grip package that will allow me to gaffer on projects when I'm not shooting others (and basically just spend more time on sets). Now I am lim
  24. Hello everyone, As the title says, I'm a gaffer from Germany, 22 years old and currently train as an event technician at the WDR studios in Cologne, Germany. Event technician is the official term for the apprenticeship, which includes studio work as well as live situations such as concerts and parties. However, most of the time I work as a gaffer in a studio environment. As far as i know the dual education system in Germany is somewhat different to most other countries, so here you can get further information, in case its important. So my contract will end in about a year and i fe
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