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  1. Hello, what is the point of and the purpose of a 9k hmi or equivalent? Like why would I go for it over more powerful or smaller options?
  2. 1.how big of a space could I light with 2 2.5k hmis and 2 1.2k hmis? I found 2 lights that are equivalent to those and I'm curious how well it would work in terms of versatility for lighting spaces with top light for ambience and hard ba, this would be done in tandem with practicals, speaking of which. 2. For a practicals heavy lighting setup, how many 4 foot tubes like astera titans, how many light bulbs like astera nyx, and how many feet of flexible strip like litegear literibbon xq chroma cine five should I have in my kit to light a large room or space that would use florescent tubes or light bulbs or flexible light? And before you say I should just rent for the project or go to a home depot, 1, the rental houses in my area don't have everything I need, and 2, I'm willing to bet that your average home depot or whatever would have crmx compatible RGB led lights, or if so, in what I want. Also, if you can't give me an answer for this, could you tell me the average size of a club, an office, and the most amount of light bulbs you've seen in a place? 3. Can I use a fabric for a larger frame like a 8x8 and use it on a smaller frame like a 6x6 or 4x4 by folding it? 4. Can I get around the issue of a parabolic softbox not being an inward lit device by using muslin on the front? The main issue I know of on a parabolic softbox is the light is 1. Not inward facing, and 2, is not focusable, I suppose you could use a fresnel to solve the focus issue but I know one of the things that makes the parabolic softbox kinda pointless is the it's usually not lit inwards, considering muslin not only diffuses but bounces (the entire point of the cove light), could I use that instead of magic cloth and have at least some of the light bounce inwards onto the reflector part and would we then have the parabolic softbox that is actually useful? Could this apply to any softbox with a silver reflector like a lantern?
  3. Hi, before we start, my main lighting inspirations consist the Hannibal tv series, Euphoria, and the works of David Fincher and Rina Yang for having an ambient based exposure with top or backlight, and movies such as Mandy, Suspiria (1973), Only God Forgives, and the works of Vittorio Storaro and Benoit Debie for having bold splashes and tints of color. Basically I'm trying to compile a set of gear for achieving stylized lighting of a set and my method was to mostly lean on practicals or supplemented practicals with a top light for ambience with a hard backlight. Keep in mind I have only so much power to work with as I'm putting all of this in my car with a small generator so basically I'm limited on space and power and those are my major cost factors for me as I need the space for other things as if I had all the space and power in the world I would probably just use a bunch of arrimax 18ks, Wendy lights, softsuns or God knows how many digital sputniks but I don't have that so I have to make sure with what I can do. For the film lights I would make sure that the company provided photometrics actually line up with the claims made as for equivalency and my source for verification was Arris photometric calculator as I could input distance and approximate beam angle to see what the actual equivalents are. The lights I have chosen for my kit are there to fill in roles for other equivalent lights but at lower wattages and with hopefully good light quality and not just output. And keep in mind these lights would be in near constant rotation in terms of what role they would be playing on set. Also, another factor would be how well I can rent them or resell them for which is why I'm looking at the lights here. 1x hive wasp plasma par 1000 (equivalent to an Arri m18 and considering that light is reputed to be brighter than some 2.5ks it lives up to that but it's nowhere near a 10k tungsten like once claimed at trade shows and on some sites by hive) 1x prolycht orion 675 w/ fresnel (it does seem to line up to the claim of being roughly equivalent to a 5k tungsten if just below it and it lines up with an Arri m8 so I'm satisfied). These would be used with the lightbridge crls c100 kit 2x litepanels Gemini 1x1 hard (these didn't make equivalent claims but according to their company provided photometrics and beam angle they seem to line up with a 400w hmi like a joker with the frosted fresnel lens) Practical/other film lights 1x astera titan 8 light kit 1x astera helios 8 light kit 2x astera nyx 8 bulb kit with impact octacool fixtures 2x litegear literibbon cine five 5m And the full set of rosco Storaro gels. If there are improvements I can make on this let me know.
  4. I know it's a softbox light that uses bulbs but I would like to know the specifics of the construction of it, like how many bulbs per light for example. So if anyone could give me a rundown on what it is and required parts that would be nice.
  5. Hi everyone. I hope you all are safe and sound. I have an interview set up to take place in a stadium football field. All the lights surrounding the stadium have to be on as they all are turned off and on by a single switch unfortunately . Now I am stuck in 2 minds. I haven't had a chance to light meter the location yet but I the plan to underexpose this by 2-3 stops; then bring in my key on the talent which will then be exposed (something big obviously like a M40 going through diff to compete with those lights). I'm also thinking of covering the talent from each side and front with a 20X20 Blackout to model the light more; potentially 2x M18s on megabooms for backlight. The debate I am having is will the Blackout be needed for both sides or just do 2x favouring one side? Also if I should add the M18's as the backlight or will the stadium lights be sufficient? The whole point for me is to make it as less flat as possible. Please see the idea of my floorplan and some references for the lighting. Once again any advice is appreciated or tips from people who have been in the same filming environment. Cheers!
  6. Hey there everyone! I am a colombian film student and wannabe cinematographer and I am looking for some advise for an upcoming short film me and some classmates are preparing. So I am going to be the DP for this short and in terms of lightning I am looking to have an aesthetic close to the images I attached below for the interior daylight scenes. Logic tells me that to achieve this I should have some strong key lights motivated from the windows on the characters and expose to those bright areas of the face, so everything else will be darker to achieve that high contrast ratio. We´ll probably have like 2 or 3 arri 1000 and maybe like 6 arri 650, it really depends on what the faculty will have available at the time and the budget that production will give us (which will be very, very low). So really I want to have a realistic view of our lightning capabilities with such few lights, can I achieve this look with the lights that are available? If so, what tips can you guys give me to achieve it on an extremely low budget? One of our likely sets is a house with really big windows, so one of the strategies I came up with is partially blocking some windows to control and limit the entrance of light (because it may be too much and spreading everywhere). Am I thinking about this the right way or am I completely off? Thanks in advance!
  7. Feast your eyes upon two of the most highly rated, luminous glow-emitting light fixtures to have ever been constructed in the history of Hollywood. Manufactured in the heart of Burbank, built from blood, sweat and tears; The Kinoflo 4x4 fixtures have dominated the industry for over 20 years. The natural quality of light has been said to fool even the greatest DOPs into believing it is not an artificial source, but the soft glow from a window on a summer evening, just before sunset. Deakins himself has claimed the Kinoflo 4x4 fixtures are the only manmade instruments to come close to replicating a truly authentic and natural light source. History was made the day these puppies came into production and will forever be remembered as the greatest invention to grace the grueling business that we know as "the Film Industry".'Deakins never said that about Kinoflos' Selling 4x4 Kinoflo Kit - $1500(2) - Kinoflo 4' 4 Bank(2) - 4 Bank Feeder Cables(2) - 4 Bank Ballasts(2) - Kino ball Mounting Backings (Pin for Gobo)(9) - KF32 4' Tubes(7) - KF55 4' Tubes(1) - Kino non rolling case (Very Worn)The Kinos work fine other than a bit of cosmetic wear and tear. Local Los Angeles Pickup only
  8. 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?
  9. Anybody here tried and/or played with the Mole Richardson Bi-color led fresnels? Especially the big ones like the 5k or 10k equivalent. Or even these same lights in single color... Any thoughts, pros, cons, everything you have would be greatly appreciated!
  10. Hey guys, I wanted to get your thoughts and input on what I am thinking of doing here. I have been a commercial still photographer for years, but have been shooting on the Red a lot this past year for both client and personal work. Unfortunately my DP who gives me access to his gear is moving to North Carolina, so I decided to bring these capabilities in-house. I'm building out a full cinema kit and want to be able to shoot action (I shoot a lot of athletes commercially) and shorts that I do for self promotion. I tend to like dramatic lighting and punchy contrast. So now that you have the background, on to the fun stuff! Here is what I am thinking of getting to outfit my kit: Joker2 1600 w kit (with all the various lenses and stuff) Joker2 800 jo-leko with source four Jr zoom ellipsoidal 25-50 4 Aputure f7 lights for any additional accenting or space lighting So what do you think? And just to explain my thought process, I am going with the cheap aputures because that way I can put more of my budget into my larger workhorse lights. They are also small and can operate with a battery, which let's you stick them anywhere without any issues. Their light is variable too, so I don't think it would create any issues as far as matching the Jokers goes. So anyway, those are my thoughts. Looking forward to hearing what y'all think and thank you in advance for your input!
  11. Does anyone have metrics on the photoflex starlite or chimera triolet 1k's? I've used the triolet once, a few years ago and was wondering how the output compares to using Mole or Arri open face pars with the same modifier. Since they have much larger globes and are made specifically to use with softboxes I would think they have more punch. Also, the photoflex starlites use the same globes as the triolet so I would assume they have the same output. Photoflex has an interesting speedring that fits 4 starlites into 1 softbox, effectively making a cheap barger like setup. The lamps go for about 50 bucks used, so you could potentially have a 4k soft light that can be run on household power. Anyone tried or seen this?? Side note : I know tungsten is not in style but a lot of productions are still using it 🙂
  12. I have two identical sets of the Digital Sputnik DS3 Modules w/ Snapgrid(softbox) and 1 - DS1 Module. I'm in the middle of the a personal project and finances are tight, I need to sell off some of my equipment. These are amazing lights and I sad to see them go. I have two identical set ups listed below and selling them for the same price. I might be willing to sell pieces but would prefer to sell them as a kit. These lights are in great shape and I only used them on one shoot, other then that they've been sitting in my garage collecting dust. The kit includes Digital Sputnik DS3 Module Plus Light kit (valued at $7900) DOP Snapbag, includes softbox and snapgrid (valued at $800) Digital Sputnik DS1 Module (valued at $1100) willing to possibly sell these together or separate I am selling the total kit together for $6500
  13. Hey there, Currently looking for a solution to rigging a 2K above a large set inside of an industrial coolroom. We did this the other day in a way that I would like to avoid doing again due to its stability. Old Solution: C-Stand with cartalini gripping another C-Stand shaft at full length. Light at the end of that arm, Everything was shifted back by roughly 15 degrees and added 75kg of shot bags to the other end for counterbalance. Once raised, it was panned across and then ratchet tied to scaffold that was inside the coolroom. Rough Floorplan: https://imgur.com/a/zPrlZHq We were/are limited to a few things right now; * Stands - C Stands are our best stands as of right now. I have the option to hire out another that is more suited, this is what I'm mainly looking for right now, but the footprint of larger stands don't fit inside the area we have. * Can't light from the inside of the room - a lot of it is handheld and wide angle that covers the majority of the room. * Flats can't be moved ( weight of the set pieces inside) *Flats start at 2.4m at the door and end at 3.2m behind the bed. * Roof of set is completely defused. I'm primarily looking for a better stand to help raise and reach that will be more stable than the c-stands with all the weight that was on it. Thank you! Jayden
  14. I was just wondering after searching a lot around on eBay and other secondhand websites and finding many different cheap lights, wether or not they might be fully functional and suitable for a modern production. As you know, new lights and lighting equipment are expensive, especially Arri's and other industry standards. But older used lights go down on eBay for dirt cheap. I am interested in all opinions on pros and cons with older lights and equipment as compared to new expensive ones. (Mostly considering indie productions) Thanks alot :)
  15. Hi guys, I've been given the task to shoot a music video. The director wanted to be to create a lighting set up similar to the picture below. It's very low budget, so I have 3 kino flows and one Arri 2k. I wanted to know what will be the best way to avoid spill when using the kino flow to light the subject? Thank you for reading Christopher
  16. 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?
  17. Hi Guys, I am currently on a hunt for great and affordable LED tube light like the quasar science, to enhance music videos and other projects. When I search online for them, they are like £60 for a 4ft one. Does anyone know any websites, stores, rental houses that provide great & affordable LED tube lights, that work well for filming? I'm writing from the London, so I would preferbally would like things that I could buy over here, thank you! Christopher
  18. hey yall i have a small set of arri lights here. they were used for a documentary and probably have less than 200 hours of use. http://s1065.photobucket.com/user/wbrettmayfield/library/arri%20lights $1800 1 arri soft lite 1 arri 1k 1 arri 300 3 arri light stands 1-2 spare globes for each basic gel roll scrims filter trays case a few extras all of the lights work great. flash was used on a few photos, the lights are NOT hot in any photos. lights are in atlanta. buyer pays shipping. case is heavy and includes a spare caster. dont haggle on price until weve talked a bit. let me know if you have any questions. please email me, do not private message me. brett. 12@brettmayfield.com
  19. Hi guys, I'm Francesco from Italy and I just uploaded my Reel with many works realised in 2016. They are frames taken by commercial, short movie, videoclip, video art and documentary. I'd like to have your feedback or a simple opinion on these works. Thanks a lot everybody here's the link (obviously watch in HD) ;) https://youtu.be/NP-DBJvqa00
  20. Hey, everyone! I'm wondering how to light an area. Or, more specifically, how to color-balance it. I'm going to be shooting digital, but I'd also like the answers for (tungsten) film just to know in the future. I'm going to be filming in a particular bar (if all goes well—pray for me, please) which I've built the whole thing around. It has lamp lights and ceiling lights which appear to my eye to be incandescent, or else LEDs which look incandescent (I didn't check in the lamps). There are LED (?) panels which I'm told change color (I plan to work that in). And then there's the light from the night-time street. (I don't know what to do about that one.) I was thinking (thanks to a suggestion from Tyler Purcell) of just lighting the scene with some china balls so that I wouldn't have all that stuff to hassle with, but I'm trying to figure out what I should do. I might be able to replace the lamp bulbs, but probably not the ceiling ones, and definitely not the LED panels (obviously). So do I light the whole scene for the LED panels and then use a filter on the lens? What do I do here?
  21. Hey, I noticed some interesting personalities coming from Benoît Debie cinematography practices. I was watching a movie directed by Wim Wenders called Every thing will be Fine. As an added side-note I want to mention the writer,Bjørn Olaf Johannessen, because its connected to the bigger image I noticed personally. The things Im interested in is 1: Benoît's light choice for an early morning scene in this movie? & his all around esthetic - lighting & framing specifically. And the other question was 2: The combination of influences on this projects development? First, the lights question: If you look at the stills I added theres a neon quality to Benoîts lighting in this scene. What I mean by that is the light glows and wraps around some items. The pictures I think show his representation of a really early/late night 2 morning transition lighting. There are 2 ext lights skimming off the exterior windows framing & filling some of the frames space. In the distance outside is the wide open field and the people are in the foreground. Anyone have any knowledge on what Benoît's like lighting choice was when he created that light. From what I noticed from Benoîts style is that he tends to make some of his lights glow. You think this was enchantment in edit or on location DP choices? If you watch & check out stills from http://www.imdb.com/title/tt1567609/?ref_=ttmi_tt http://www.imdb.com/title/tt2101441/?ref_=nm_knf_t1 https://www.youtube.com/watch?v=B3eAMGXFw1o The other part I wanted to see if anyone noticed was the quality the movie gives off? To me (generally speaking) its gives off part french color/saturation look w & audio style, German novel/script story development & Scandinavian spatial theories. I can expand. Just curious to see if anyone picked up on what Im seeing as the embodiment of various countries. Its neat I think. P.S The lights Im interested look to be the same color you'll see dotted around this movie as well as in Rihannas MV & the flashlights in The Maze Runner & other films.
  22. https://www.youtube.com/watch?v=KbGMOc8VP4E This is the first video I shot with some proper lights I bought recently. This is a vast improvement in a lot of my other stuff, so I just wanted to post it. I have a lot to learn but this is a good step for me. Enjoy.
  23. Hey everyone! Cinematography student here looking for some advice on an upcoming project. I've got a short sci-fi piece coming up for which we are planning to build a set made of fluorescent or neon tubing. This is what we are going for: static.dezeen.com/uploads/2014/12/Bentle... To make things more FUN ... we are also hoping to use "glow" contacts and UV paint on the actors (we are trying to find a way to make them look like they have been inhabited by light and are now almost emitting light). So, I'm looking for any and all advice regarding these subjects! - Is it possible to film fluorescent tubing without flicker? If so, which bulbs would I need to get? - If fluorescent tubing is an overall bad option, are there any other types of light I could use for this effect? I looked at neon tubes but they are insanely expensive. - Would UV paint be a viable option for making the actors "luminescent" or are there other options? Any and all advice on achieving these effects would be GREATLY appreciated!! We will be filming with a Red Epic and I do have a decent amount of other film lighting available for fill but I need the tubing on set to and the actors to really glow! Thank you!!!
  24. I have 3 fresnels in perfect condition, you would be mistaken for thinking that they are brand new. ARRI 150w, 300w & 650w fresnels. They come in a Kata case with a wheeled trolley. no stands included. The case has some cosmetic wear, trolley has been wheeled down the street no more than once. I'm looking for a buyer based in London. I can sell individual part if there is interest. If you are interested in purchasing please send me a message and I'll send across some pictures.
  25. Hey guys I have a pile of gear for sale. The reason for sale is that I barely use the gear. Here's a list of some available items. Bartech wireless FF/ with Heden Motor and extra gear drives Kit. $1800 - SOLD K5600 Jokerbug 400 HMI $1200 K5600 Jokerbug 200 HMI $1000 Steadicam pilot - $1000 Kinotehnik LCDVF $500 Cinestar 8 $2000 U7 motors X8 $75-each Carl Ziess Cinemiser OLED $350 Wireless transmitters And much more..... See link for some pictures. https://www.dropbox.com/sh/h5no4caa36clp6l/AAB7VX7DfiQlx7nhY9sAxotma?dl=0 Make your offers reasonable. all my gear is in decent shape and mildly used. PM me for more pictures as the site won't let me upload everything here. Goodluck
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