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Found 3 results

  1. Hey everyone. The other day I was testing out different bulbs in my 1K fresnel to see how wattage correlates to output (switching from 750 to 1K only resulted in 1/3 stop difference, which I found really surprising). I did something stupid though: since I only had my light on for a few seconds to take a quick light meter reading, I thought that the lamp probably wasn't that hot, and waited far less time than I normally would for it to cool down. Basically, I touched the bulb with the gloves I happened to be wearing at the time (which aren't real proper leather electrician gloves but rather a pair I found at Home Depot with faux leather-like tips on the fingers designed so you can use touch screens), and some of the faux leather finger tips melted right onto the glass of the bulb. Fortunately, these gloves are thick enough that I didn't get hurt, but unfortunately, I have this melted stuff stuck to my lamp. Are there ways to clean off lamps? I know mine might even be a lost cause now, but this seems like it might be useful information for the future. Thanks.
  2. Hello, Would any of you be able to suggest how to get some soft, flattering light on the face of the talent in an establishing shot of a room at night while avoiding spill. The lighting is motivated lamps but most areas will be allowed to fall away to near darkness. I've attached a low-resolution image of how I would like the room to look. Also when it comes to the close-up would any of you advise using a small booklight? Many thanks in advance for any responses. Best regards, Haydn
  3. I've notice that in most movies the set designer and DOP seem to choose white shades for practical lamps - presumably to increase exposure and not mess with white balance. So for example, all white lamp shades and then dim down the practical lamp bulbs to create a nice warm tone. Is there any advantage to using a white shade with dimmed bulb to get an orange effect, as opposed to keeping the bulb at full power and using an orange shade (which I guess will give more a colour contrast between diffussed and direct light)? Both would presumably give a warm effect. What about coloured bulbs/globes in practicals. Effectively to create warm effect we have got 4 options: 1. Dimmed down tungsten 2. Use orange painted bulb 3. Gel inside of lampshade 4. Use colour lampshade Have you experimented with them and do you think any have certain advantages or disadvantages to creating the warm romantic look. Has anyone given much thought to the colour of lamp shades and have you had any eureka sublime moments, where you've thought I need to keep that up my sleeve for a romantic shot? Have you had any bad moments where you've thought, i really should not have used a lamp with a red lampshade etc. The only advice I can give here is make sure the lamp height is big enough to hold higher wattage bulbs - I tried to stick a dimmed 100w in a lamp and the bulb poked out the top so I reverted to a 40w at full blast. One film that baffles me is Amelie. A blue lamp in a very warm environment - I would have thought the colour spill from the lamp would create a really muddy colour in the immediate environment - or is it one of those post-production tricks where they've rotoscoped the light and changed the colour? Has anybody tried shooting a scene with a blue practical and overall warm feel - it sounds like asking for trouble? (I shall try and repost the images just in case they dissappear from thirdparty sites, if the images no longer exist on reading this post contact me!) Atypical White Lampshades: Red Practical (Nice!!!) Amelie Blue Light
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