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Showing results for tags 'HMI'.
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Hello Everyone, My name is Vicken Joulfayan, and I am a new member here! I am a graduate student at the New York Film Academy in the Masters in Filmmaking program but my focus is primarily on cinematography. I am the DP for seven master thesis film projects, two of which are scheduled to be shot in the next several weeks, and am in need of advice for lighting. Although I have researched a lot and have a general idea of how to light each project, I need your advice in deciding which exact equipment to rent. The projects have budgets but they are minimal. I've embedded links to the first two projects I am working on in June, and they include the location image and overheads. Project 1 : https://drive.google.com/file/d/0ByO5kv_UG9-NQkxDekNQdHZRdkE/view?usp=sharing For the bedroom night scene, we are recreating rain outside the window ( the space is visible in the picture, which is almost 3 feet, and then there is 6 feet downhill grass. The light will be put there at the bottom of the slope). Project 2: https://drive.google.com/file/d/0ByO5kv_UG9-NSnd3eDdLbUNnRjg/view?usp=sharing I am trying to keep it as simple as possible when it comes to lighting this one if it is a possibility. For both projects during day and night scenes, all the locations have big windows. I was thinking of 1.2hmi? par? or maybe Led even? Example aputure lightstorm ls1s) and additional fill IF needed inside, and practicals. Would I need a bigger frame than a 4x4 if i have exterior shots ( backyard shots)? I want to be able to see inside( characters) well exposed yet also have the outside location exposed ( outside logically more but still clear) without having the need to light so much additional light inside (tosco scrim black). Would a small LED be effective to create eye-light? Also we get 10 tiffen filters of our choice, Iwas planning to get these after research: - IR ND 1.2 / 1.5 / 1.8 - ND.6 ND.9 soft grad - Black pro mist 1/8 1/4 1/2 - Soft fx 1/2 - 1 + there is this grant where i can chose 6 full rolls or equivalent from LeeFilters that i am applying for. What do you guys recommend as primary to have!? cto, and ctb i think would be sad to have full rolls of! My choices are: 1- OPAL 2-GRID CLOTH 1/4 .. 3- HIGHLIGHT 4- ND 5- + - green. ? Equipment: Red Scarlet Mysterium X, EF mount. Lens given from school : Rokinon I also have the option of renting (POSSIBLY ) either zeiss CP.2 ,Canon Cine primes or Leica R cine mod. Which do you advise?! I really appreciate any feedback! Thank you in advance! Best, Vicken Joulfayan (818)224-9124 Vicken@joulfayan.com
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Is there way for someone like me to start using a generator so that I might power an M40 or an Arrisun 60? I love the M18 because I allows me to work with a decent amount of light on a very small budget. I've been shooting commercial projects on a thin budget by running with one M18, a few fluorescent fixtures a great deal of light modifiers. In the states, I believe an M18 is about the most powerful light you can run off a house or office circuit. (If there are more powerful options, I'd love to use them) Is the answer as simple as renting or buying a 6500 watt portable generator or is there more to it? -
I'm curious on what kind of output would be necessary to key from a light outside a window into a small (10ft x 12ft) room for a daylight interior setup. This is assuming no direct sunlight or night. Do I need a 12/18K or can I use something like an M90, M40, or even something of lower output?
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Hello Guys, I know this has been posted before but I never found a conclusion to it. I've always learnt that you can't restrike/hot-strike HMI bulbs meaning to turn them off and straight back on without blowing the bulb full-stop. Every shoot I've ever been on this has never been the case nor even close to a concern from the DP. They restrike the bulb just 30 seconds after it being shut off even when the bulb has been on for 10-15mins or so, it makes a nasty sound from the bulb trying to re-light but other than that it's fine everytime. So if someone can clarify some questions for me? The term Hot-Strike literally means from striking the bulb when it's HOT HOT, like full temperature hot, then it will blow or not restrike? Does the ballast & bulb actually have a major impact on how safe it is to restrike in reality, not theory. If the top question is true, how long is it best to wait? The higher the wattage = the more heat so the longer the wait? Cheers Guys, will appreciate this.
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Good evening, I'm researching lighting purchase options. in addition to HMI. A photographer and videographer contact suggests I go with LED; they are in the running along with LEP. I have my eye on a Joker 200 or 800. Does anyone have an idea on what the typical service and repair costs are (rough estimate or actual)? Thanks, Jesse
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Hey guys, I have this job with part day, part night scenes, all exterior, sunny look, but with bad weather on my way. It's a pool party for a fashion film. My budget is not that big, and I have to pick between HMIs or TUNG lights to make all the job. NIght and daylight exterior. Can you send some ideias with your experience? The câmera is a RED EPIC DRAGON. The look of the film is pretty colorfull with a lot of gels and some uv light. Thanks
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I currently work with a bunch of tungstens that have been getting the job done. I would like to buy an HMI but they are just so expensive. I would like to spend 1000-1500 for one so I have to choose between buying used or buying one of the cheap ones from China new. My main motivation behind buying an hmi is to be able to light people during the daytime while the sun is out. My two options are: A. to buy this new chinese 1200w hmi for $1240 here There's a video review of a guy who tested it out (embedded in the site) and says that it's worth the money and risk of buying off-brand compared to the more expensive arri brand. B. buy this used Luxarc 1200w mini hmi from craigslist for $1200. (picture attached) The guy claims this light/brand is the workhorse for alot of production houses. I'm not sure if he's telling the truth or not so I wanted to check with you guys So my questions are: 1. Is Luxarc really a trusted more reliable brand? Would you buy a used Luxarc and the risks that come along with used over a new chinese brand and its risks? 2. Do you think the Luxarc would have more light output or would they both be the same? 3. My main purpose is to be able to light people during the day. Do you think 1200w hmi is enough to achieve that or would I need to get higher wattage for that? Thanks
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Please check out our NEW LED TRANSLYTES and POWER LEDS at any of our websites, give us a call if your interested in a DEMO of any of our gear! Sales, Rental, Parts, Service and Repairs. Trade-in specials on HMI and Faceted Pars! Open Monday - Friday, 8am - 5pm 11078 Fleetwood Street Sun Valley, Ca 91352 818-768-8886 http://sunray-lighting.com http://www.dadcopowerandlights.com http://www.filmgear.net -
2x 4K Arrisun HMI Par HEAD ONLY comes with Doors, Scrim Set ,Lens Case with 4 lenses. The equipment has just been serviced and is in good working condition. - 2 x Head - 2 x Doors - 2 x Case with 4 Lenses, Stipple/ Wide/ Medium /Narrow - 2 x Piece Scrim Set - NO GLOBE - NO BALLAST - NO HEAD FEEDER CABLES - $6800
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I was shooting with the phantom 4k at 1000fps all day with HMIs (18k and 6k) on flickerfree ballasts. All was fine until towards the end of the day when they started pulsing. I figured it might be a power surge or something? Anyone experienced this before? -
its been a while since i've worked on a show with bigger lights and I have a show tomorrow andn i've been hired as the bb electric. as i've been told so far, we have 1x12k and 2x6k. all the gear belongs to someone else and i didn't get to test anything so i'm just showing up cold. so my question is balancing the loads on 3 phase power. my plan was to put both 6ks on the red/blue legs and the 12k on the blue/black leg. i'm thinking that's correct but if so that technically leaves the blue leg shared between th 3 lights. so isn that not right? also i was told 2 separate runs of cable are being brought so that throws me off. i'm assuming the 12k needs its own run and if it does, is the configuration the same? or does that mean i can balance the 2x6ks on say, red/blue, blue/black and then put the 12k on whatever legs i want to share since its on its own run? this doesn't seem right to me tho since all power is coming from the same plant. anyone care to clarify for me in a basic non technical manner? -
I have an upcoming shoot where I want to cast some light through a window to crate a shaft to look like it's coming from a street lamp outside. The windows are quite small (about 5ft tall, 6ft wide) and are frosted with a texture to them. I'm worried about how well the light will travel through them as I don't want it to just distort and glow, I'm after more of a shaft to give us some background and bring the night light into the room. I'm planning on using a 1.2 HMI and rigging it high outside with some atmos in the room, does anyone have experience with this and know if the frost might create problems? Thanks in advance!
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So Ive got some scenes in an upcoming feature where I really want to have big bands of light coming thru each of 3 windows. Each window is about 8 feet wide and probably 30 feet tall. Its not a very large budget, but there are a few resources. Generally speaking, would I need 12/18k HMIs in each window to get some shafts (along with haze/fog), or could I get by with some 6ks? Ill go ahead and thank David Mullen in advance
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EBAY LINK http://www.ebay.co.uk/itm/-/321938237598? Worth more than £2000! This ARRI 575/1200W Electronic Ballast works with 120-220 VAC. It has on-board dimming, as well as frequency control capability. It is compatible with the ARRI 575, 1.2K HMI Compact Fresnels, Arri-X 5, Arrisun 5 and 12 HMI PAR fixtures. Also with other brands such as Quartzcolor, Filmgear, Mole Richardson, Desisti,... Check a video of the ballast running on Youtube Perfect for Video Applications Offers flicker-free operation Enables a shutter speed of 10,000 frames per second Dimmable On-board dimming from 50% to 100%No Color Shift While Dimming The current limiter reduces light output by half but raises color temperature, eliminating the need to correct color temperature with color correcting gels For over 25 years, discharge lighting ballasts have been an integral part of the ARRI Lighting family. During that course of time, the range has developed to comprise the reliable, robust and efficient components recognised today as the industry standard for film, theatre and events. ARRI Ballasts feature state-of-the-art electronics and offer easy maintenance, automatic fault detection and extensive status indicators, along with impeccable reliability and safety. A wide range of cables and accessories completes the ARRI Lighting product line. Constant lamp power and colour temperature over the lifetime of the lamp Possibility to dim the light between 50 and 100% Automatic switch-over for 115V~ and 230V~ power supplies Low noise switch - noise reduction in the luminary Active Line Filter - power factor correction Line over-voltage protection Protection from overheating Constant lamp power and colour temperature over the lifetime of the lamp Less weight and size compared to magnetic ballasts At least 5% greater light intensity compared to magnetic ballasts At least 20% longer bulb life compared to magnetic ballasts Solid construction, including outside heatsinks as part of housing and a bumper at the operator control panel Special mechanical design for quick opening of the EB in case of service maintenance Good service assistance Detailed technical documentation L2.76125.0 EB 575/1200, 90-125 V/180-250 V, Schuko-Plug, VEAM, blue standard housing
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A replacement Reflector Assembly that intensifies and broadens the output of an ARRI Pocket Par 400 watt HMI fixture. Compatibility Arri Pocket PAR 400 Watt HMI Fixture Mfr # L2.70880.0 EBAY LINK
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RRPP £199 NOW 50% DISCOUNT LIMITED TO 3 UNITS DESCRIPTION Brand new ARRI - Head to Ballast Power Connecting Cable for ARRILUX 125, 25' Long (7 metre). EBAY LINK http://www.ebay.co.uk/itm/-/321917436714?
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Hi Guys, I'm DP on a shoot in Brighton, East Sussex, UK and although the forecast looks OK I want to be prepared for rain and wind. Would you be able to share you're methods for keeping a 1.2k HMI and ballast safe and dry when shooting outside in the rain beside the sea and the same for a 2k tungsten fresnel? If you want to use a 6ft butterfly with gridcloth to diffuse the light (it's for a beach scene) aside from guy ropes is there anything else that can be done to avoid turning it into a big expensive kite? Many thanks in advance for sharing your thoughts. All the best, Haydn -
Dear All, I will be shooting in an Astronomic facility located at 16,000 ft above sea level. The idea is to bring a couple of Joker 800 watts. Does anyone know if there is any risk to shoot in a low oxygen environment that needs to be taken into consideration for safety and if the lights will ignite and work ? Thank you very much for your advice. Regards, Alejandro Alcocer DOP Mexico City http://www.alejandroalcocer.com -
Looking for a buyer who shoots stills as well as motion and would rather own then rent a dual purpose Briese. I'm selling my Briese Focus.2 100. The Focus.2 100 is brand new and comes with motion and still setup. For motion, an older Briese 2.5K daylight HMI with just over 1,000 hours on head/ballast (works great). For stills, brand new, factory direct Briese strobe head fitted for Broncolor packs with a like new Broncolor Scoro S 3200 RFS Power Pack. All additional tubes/accessories/adapters needed for the Focus.2 100 to go between still and motion as well as 1/4 and 3/4 diffusion. The Focus 100 travel bag is included as well as an older, non-focus, square 100 reflector which is the only item that needs some tlc. Asking $28,000 ($40,000 if purchased separately - the Scoro alone is $14,000). I’m really interested in selling the whole kit (not breaking it up). So either the dual purpose fits your business model or you know someone who can appreciate the amazing features of the Broncolor Scoro S. If interested, message me and I’ll send photos (or video) of all the items. Again, the focus reflector is brand new, the Scoro is like new (6 jobs shot on it), and the only item with age, the Briese HMI ballast and head, has just over 1000 hours. Thank you. Mark -
Hi guys Looking for new ideas here , I'm an electronic technician with 25+ years of experience , working with HMI since the mid 90's I also work as a DIT and Engineer I was on a set last weekend, shooting outside on a very humid day one 2.5K HMI Par was outside and the ballast did a flash and me and the DP heard a sparking sound when it happened the light stayed on but once we turned it down it never responded to the ballast later on the lamp is an old Strand Quartzcolor and the ballast is a magnetic ballast , Strand brand , made by IREM (same guts as the ARRIs) My first guess was a blown capacitor inside so yesterday back in my workshop I opened it , replaced the 2 main electrolytic capacitor on the IREM pcboard and the main power cord too which was very brittle, I used gauge 12 wires as usual tried the ballast with the head we had on set, it strikes and after a few minutes I see a lot of flickering and I'm hearing a loud hum from the ballast, like a AC to DC rectifier only working on half the phases tried the ballast with a second head it strikes but does not stay on but the lamp works well with my other 2 ballasts of the same model tried the same ballast one more time with a third head it strikes, light goes on and no hum no flicker ! like a perfect combo I used the same cable on the 3 heads too so the cable is discarded as a possible problem source I have never seen such a stubborn ballast in my life -
Gear is at a shop in southeast, US thats offloading some inventory. Listed here and some on Ebay. Thought I would pass along here. Contact me at mirror image pictures AT gmail DOT com or call 818 Five Eight Four 6243. I'm familiar with the equipment and can speak mostly for its condition and quality, so feel free to reach out with any questions and Make Some Offers. SUPPORT - O'Connor 2060HD Head (Mitchell) with Handle, Euro Base, Quick Plate, ATA Case - $7000.00 - O'Connor Cine HD Standard or Baby Sticks (Mitchell or Bowl) with Spreader (Ground or Mid) and Tuffpak Case - $1500.00 (3 Sets Avail) ARRI AKS - Arri FF4 with Dumb Wheel and Crank - $3000.00 (Last One) - Arri MB20II with 3 Stage Module, Top and Side Flags, 19mm Bridge Adapter, Hard Mattes - $4500.00 (2 Avail) FILTERS (4x5.65 unless noted) - Tiffen ND 6 - $250.00 - Formatt ND 3, 6, 9 - $150.00 Each - Formatt ND12 IR Combo - $250.00 Each - Formatt IR Hot Mirror - $250.00 - Schneider ND Grad HE 3, 6, 9 - $250.00 Each - Schneider Tru-Cut 750 IR - $250.00 - Schneider Circular Polarizer 138mm or 4.5" Drop-In Style for Arri Bellows - $300.00 Each - Tiffen Black Pro Mist 1/4, 1/2, 1 - $250.00 Each MISC - TVLogic 7" HDSDI Monitor LVM-071W with Portabrace Case, Plexi Cover - $900.00 (2 Avail) - Mole 4K HMI Par [New Style] with Lenses (and Case), Header Cable, Ballast Cable, Scrims, Barndoors - $9000.00 (2 Avail) - Element Technica Mantis Handheld Rig - $950.00 - DF50 Hazer with Cord - $2000.00 - Motorola CP200 4 Channel Radio Set (4 Walkies with Spare Batteries) with 6 Way Charger - $850.00 - Prompter People 10" iPad Prompter System - $400.00 - Peplink Balance 30 Multi-WAN Router BPL-031 - $200.00 - Canopus ADVC-1000 SDI/DV Bi-Directional Converter - $450.00 - NetGear ProSafe (FS728TP) Switch - $200.00 - Polycom SoundPoint IP 335 Phones (Set of 3) - $125.00 - ShoreTel 230 IP Phones (Set of 4) - $150.00 PHOTOS: http://www.reduser.net/forum/showthread.php?133763-Inventory-Sale-OConnor-Prompter-TVLogic-Arri-FF4-MB20-4K-HMIs-Filters-amp-More ALSO - Epic-X Package - $27.5K: http://www.reduser.net/forum/showthread.php?133758-Epic-X-Package-FS-(Just-add-lenses-and-Media)-27-5K-OBO-Ready-to-Ship - Red One MX Package - $7500: http://www.reduser.net/forum/showthread.php?133759-Red-One-MX-Package-FS-7500-Ready-to-Ship - Red Pro Primes - $13K: http://www.reduser.net/forum/showthread.php?133762-Red-Pro-Prime-Lens-Set-25-35-50-85-100-13K-Ready-to-Ship -
Hello there, I have a project coming up in a couple months that will involve shooting underwater (most likely in a pool). The aesthetic is rather straight forward in that I just want to create a moody top-lit sunny look and shoot from below the surface and the subject, but my approach will change based on how the sun moves over the water (if it does at all). If the location is shaded for the majority of the day, I will bring in a couple of HMIs to simulate the sun and shoot down into the water, but if the sun is already doing this naturally, I will most likely just work with that and schedule accordingly. My question is, in the event that the water is in a shaded area that needs to be lit for sunlight, how big of a unit will I need to get this effect at a decent stop (2.8+) while creating enough ambient bounce-back (can be quite contrasty). Will an Arri M18 suffice or do I need something bigger like a 4K? At the moment, we're talking about shooting Red Dragon, so we will likely rate it at 800 ISO. The concept is pretty abstract, so I'm completely ok with a fair amount of fall off. Thanks!
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Hi! Since it's a tradition here to introduce oneself in the first post... I am DP based in Riga, Latvia, doing mostly documentary work and web/TV ads, also making a short and a feature this year. Shooting a lot of HDCAM on F900, some Beta SP and Super-16/35, gaffing as well. Native Russian-speaker, so excuse my English. Powering moderately big fixtures off household circuits has already been discussed on the forum, but everybody was talking 120V US-standard. Maybe we should have a thread for 220V power? In Latvia we've got 230V/16A on some of the wall outlets and generally 230V/10A. The wiring is 1,5-2,0mm2 (14-16AWG) of severely overloaded aluminium in flats and 4/0 alu house feeder everywhere but in the newest buildings. 2K tungsten and 1,2K HMIs work fine, but what about the bigger lights? Do I really risk burning the location when doing a tie in for say a 6K, if to take that the wiring is such rubbish? On the next show I'm going to run an LTM Cinepar 2500W in a Soviet block of flats. The ballast is magnetic Alimarc 2,5K, so no problems with power factor and harmonics. It draws 14A on 220V when running, but what's the usual HMI startup current - 1,5-2x the "paper" amps? No genny this time so we're tying in to a 16A "private" line. I'm quite sure it'll trip the 16A breakers, but will it basically ignite from a 16A circuit? One of my colleagues says yes, should I beleive? What about a 4K off a 25A stove outlet? -
We have a fantastic price available currently for a maximum of 20 ARRI M40 4kW HMI systems. The heads are unused, new, still in the box genuine ARRI and have been purchased via an official distributor so full warranty etc will appply. The ballasts are manufactured by Power to Light, a UK company who makes ballasts for HMI lights from 200W to 24kW. The system is an M40 head, Barndoors, Lamp, Head to 50' (15.2m) ballast cable and 2.4/4kW electronic ballast. The usual price for these is around £10K (US$15K) each We are selling them for just £6,995 each Prices are Ex Works UK and exclude VAT which will be added for UK orders. We can ship worldwide, at extra cost, once we know your location. We can accept payment via bank transfer or credit card. Contact Projects Department for more details Regards Peter Daffarn
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I was about to rent HMI Lighting (day light) for one of my shoot. I was told that HMI lighting can be used only with crystal cameras. What is crystal camera? I goggled it and couldn't get anything that are explained in layman terms. We are shooting in Canon 5D Mark II and Sony PMW-EX3 cameras. Thanks
