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Found 30 results

  1. 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!
  2. 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 ­čÖé
  3. 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
  4. 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
  5. 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 :)
  6. 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
  7. 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?
  8. 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
  9. 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
  10. 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
  11. 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 wellÔÇöpray 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?
  12. Hey, I noticed some interesting personalities coming from Beno├«t 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,Bj├Şrn Olaf Johannessen, because its connected to the bigger image I noticed personally. The things Im interested in is 1: Beno├«t'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 Beno├«ts 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 Beno├«t's like lighting choice was when he created that light. From what I noticed from Beno├«ts 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.
  13. 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.
  14. 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!!!
  15. 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.
  16. 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
  17. Gear Helps Camera Department's Smooth Production NEW YORK (April 29, 2015) - Cinematographers Eric Moynier and Michael Caracciolo shoot NBC's hit series, The Blacklist, with support from Anton/Bauer batteries, Litepanels fixtures, and OConnor fluid heads. Mostly shot on location - including Manhattan, the outer boroughs, Long Island, New York's Rockland and Westchester counties and the stages of Chelsea Piers - the show's dramatic storytelling is a perfect match for the tools. The Blacklist stars James Spader as ex-government agent Raymond "Red" Reddington, one of the FBI's Most Wanted fugitives, who comes to work with the FBI to identify a "blacklist" of politicians, mobsters, spies and international terrorists. Moynier and Caracciolo are joined on the set by A camera operator Tom Weston, B camera operator Saade Mustafa, and a third rotating operator. They deploy three Sony PMW-F55 CineAlta 4K digital cinema cameras on an average day, but as many as six cameras are sometimes rolling. They're outfitted with Panavision Primo prime lenses and zooms, and Angenieux Optimo zooms. Moynier estimates that OConnor 2575 fluid heads, rented from Panavision New York, are used 80 to 90 percent of the time. "OConnor has always been my workhorse; it's my go-to fluid head," says Moynier, who has been a fan for the last 20 years. "I love the feel of the 2575. It's like I'm holding the story in my hands. It's not a mechanical device - more of an emotional way to operate. Operating with a fluid head is very different from wheels. It's more personal, more organic. I operate with very high tensions so when I stop pushing, the camera stops in its tracks." Weston is also a longtime 2575 user. "It's a terrific all-around head that's been reliable for years, and a standard of the industry," he adds. "The 2575 is robust but smooth and responds well to a soft touch. It has a great counterbalance, and I can point it straight up or straight down." He also gives kudos to the "strong locking system," a must when cameras are loaded with accessories. "When I put an 11:1 Panavision lens on the lighter Sony F55, then load it up with Preston (camera and lens control), MDR (cable), batteries, two monitors and an eyepiece, it becomes a very heavy and long camera. But if I want to do an extreme tilt, I know the head's locking system will hold it all in place." Weston notes that the 2575 even performs well in the arctic temperatures that New York City experienced this winter. "We shot in 15-degree (Fahrenheit) weather and the lenses can become difficult to focus and zoom sometimes. But we've never had a problem with the OConnor fluid heads," he says. Litepanels 1x1 panels are used extensively on the series, too. "They're small, slim and unobtrusive, so they can be hidden and tucked away on sets," says Moynier. "And you can adjust their intensity." "I love them and use them every day," says gaffer Michael Price. "They're quick to hang as backlights, with no cables; I can add them as last-minute key lights. I even use them off camera to light a dark staircase, or I'll put one on a stand when an actor needs a little work light to study the script." Price likes how he can "change the color temperature of the Litepanels from tungsten to daylight simply by spinning the dial. And they're fully dimmable, too." He powers the Litepanels, rented from ARRI New York, with six Anton/Bauer DIONIC HC batteries, which he values for their long charge life. "We shoot a lot of long scenes, and I never have to change batteries," he says. Anton/Bauer lithium-ion batteries also power the F55 cameras. "We use the DIONIC HCs with real-time display as a source of power in conjunction with our Panavision block batteries," says Hollis Meminger, A camera 1st assistant on the show. "They are extremely useful and carry a decent weight distribution when we are handheld or going extremely low profile inside car rigs, or for helicopter and airplane sequences." He adds that the Anton/Bauer batteries are used "on everything from our monitors to wireless video systems, as well as with our camera stabilization system. The batteries have proven to be extremely reliable and very useful for such a high-impact show as The Blacklist." The popular crime drama's second season is currently airing, and NBC has renewed The Blacklist for a third year. # [Editor's Note: Photos available for download here: https://app.box.com/s/yfei1tjke4dj0xk6y23nf8ugkf6xj736]
  18. Next Generation ASTRA 1x1 Series Also Expands with New Models CHATSWORTH, Calif., (April 9, 2015 )--Litepanels® , a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, has announced the launch of several new additions to their highly acclaimed ASTRA line of LED panels. The expanded lineup now includes the ASTRA 1x1 EP series, the ASTRA 1x1 E series, and two additional models in the ASTRA 1x1 series, which debuted last year. Building on the legacy of the company's original, trailblazing 1x1 fixture, the ASTRAs set a new standard for the form and function of professional LED panels. ASTRA 1x1 EP Series: Ideally suited for independent and field production, the ASTRA 1x1 EP panels offer a light output that is two times brighter than the company's legacy 1x1 fixture. Featuring the Litepanels tradition of a one square foot form factor, the LED panels offer high CRI (Color Rendering Index). The new ASTRA 1x1 EP series includes both Daylight and tunable Bi-Color models. ASTRA 1x1 E Series: The ASTRA 1x1 E series offers entry-level access to Litepanels' state-of-the-art LED panels. Every design element has been meticulously crafted to deliver the form and function needed for the independent content creator. The new ASTRA 1x1 E series also includes Daylight and tunable Bi-Color models, and offers a light output that is comparable to earlier LED panels. With high CRI and a traditional form factor, the new series provides efficiency and versatility at an affordable price point. ASTRA 1x1 Series: To better complement studio operations, the ASTRA 1x1 series has been expanded to include ASTRA 1x1 Daylight and ASTRA 1x1 Tungsten fixtures. Joining the ASTRA 1x1 Bi-Color panel, these fixtures offer a light output that is four times brighter than Litepanels' original 1x1. For studio installations, a full lineup of accessories is available. In addition to studio use, the intensity levels in these battery-powered fixtures make the ASTRA 1x1s ideal for location shooting, especially in direct sunlight. "The response the filmmaking community had to the launch of the ASTRA 1x1 Bi-Color panel last year exceeded our expectations," said Alan Ipakchian, product marketing manager for Litepanels. "The time, effort, research and development put into the ASTRA has produced a panel that once again revolutionizes the use of LED fixtures for the creation of professional content. We've created expansions to the line that offer a variety of intensity levels and price points, making the ASTRA available to everyone. Whatever your requirement, Litepanels has the perfect fixture to fit your needs and budget. And with the modular approach we've taken, your gear, accessories and lighting style can grow with you." All of the ASTRA panels are designed with select premium quality surface mount LEDs that are paired with custom designed TIR (total internal reflection) optics. Both the new 1x1 EP and 1x1 E series offer a Bi-Color fixture, allowing users to adjust color from daylight to tungsten as needed. An internal microprocessor monitors the temperature and delivers smooth dimming from 100 percent to zero with no noticeable color shift, as well as ensuring a completely flicker-free performance at any frame rate or shutter angle. "At Litepanels, we're always striving to deliver for filmmakers," noted Ipakchian. "With the introduction of the new ASTRAs, Litepanels is bringing the most advanced LED technology available to content creators in all segments of the industry. Once people get their hands on these panels - which are sturdy, high-output fixtures packaged in a lightweight, flexible form factor - they're not going to want to light without them." The new ASTRA series employ a modern, modular design. The manual controls are ergonomically designed to allow for ease of use in the field, ensuring easy identification and manipulation of dimming controls, color controls, and power status. The panels are all produced with aluminum I-beam core construction to provide maximum durability and superior thermal management, and also feature strong, integrated aluminum accessory mounting points and lens/filter rails. All ASTRA fixtures offer an extensive list of features, including a curved yoke design with a wide tilt range, dual integrated cable guides, and a combination yoke mounted power supply with a 3-pin XLR locking power connector and optional Gold Mount® or V-Mount battery plates. The yoke also features a removable TVMP connector and additional 1/4-20 mounting points. The ASTRA 1x1, ASTRA 1x1 EP and ASTRA 1x1 E series have taken the place of Litepanels' original 1x1 panels, introduced almost a decade ago, and are now available worldwide. The ASTRA family of products was specifically crafted to meet the needs and price points of users in every sector of the market. The ASTRA EP series starts at $900 (£558), while the ASTRA 1x1 E Daylight is available at the low list price of $665 (£412). The ASTRA 1x1 Bi-Color panel has a list price of $1,500 (£930). For more detailed sales information, please visit http://store.litepanels.com/. More information on Litepanels can be found at www.litepanels.com or follow us on Facebook.
  19. Lightweight Kit Featuring New LED Fresnels Delivers for Mobile Users CHATSWORTH, Calif. (April 8, 2015) - Litepanels®, a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, has announced the debut of its new Caliber 3-Light KitTM. Ideal for webcasting, blogging and professional content creation the Caliber 3-Light Kit is designed specifically to provide the portable, out-of-the-box lighting solution that today's professional videographers require. The latest addition to Litepanels' award-winning line of LED Fresnels, the Caliber is a true Fresnel fixture with wide focus range that can be powered via AC or with AA batteries. The daylight-balanced LED offers the controllability and light-shaping properties inherent in a Fresnel light at a fraction of the power draw of conventional fixtures. Flicker-free at any frame rate or shutter angle, the Caliber Fresnel offers ultra-smooth dimming from 100 percent to zero, with no noticeable color shift throughout the entire range. With professional accessories like a color frame, correction filters and a 4-way barndoor, the LED Caliber brings the functionality of large Fresnels into a small size factor. The dimmable light provides a 1/4-20 post for direct mounting using common hardware. The fixture's compact size, high intensity output and portability make the Caliber 3-Light Kit a valuable production tool in the field. Litepanels' compact Caliber 3-Light Kit has been carefully crafted to enable ease of travel and a fast setup. Weighing in at less than 13 pounds (six kilograms), each kit contains three Caliber fixtures and AC Adapters with international plug sets. Also included are three multi-jointed flexible tripods, allowing the lights to be fixed in a number of positions, and a compact stand with stand adapter, offering additional placement options. The Caliber 3-Light Kit's contents are all packaged in a fully customizable soft case, with additional storage space provided for batteries, camera lenses and other items. Cinematographer Lan Bui recently served as a beta tester for the new Caliber Kit. "I'm often stuck in very hard situations with limited power choices, so having a standardized battery power option built right into the lights is a key feature for me," noted Bui. "Being able to set up the lights anywhere without running cables or worrying about location power is an incredible convenience. Using only the AA batteries, I'm able to use the lights to compliment the shot I'm composing." Bui added, "The Caliber lights have a surprisingly bright output for their size and power sources. The quality of light, coupled with the ability to focus the light down and use the provided barndoors, makes these fixtures a 'must have' on any travel or run-and-gun location shoot. I don't see how I'll ever go out on a shoot without the Caliber Kit again. " Caliber 3-Light Kit includes: Three Caliber Fresnels Fixtures (Beam Angle: 15° to 73°) Three Multi-Jointed Flexible Tripods Three Gel Sets and Color Frames Three 4-Way Barndoors One Compact Light Stand One Stand Adapter with Ball Head Three International Power Supplies One Soft Case with Customizable Interior Compartments "The Caliber is a game changer for professional shooters," said Alan Ipakchian, product marketing manager for Litepanels. "Our customers in this space have been requesting a Fresnel kit with high-production value at an affordable price, and the Caliber delivers for them. It's a true Fresnel fixture that produces soft, directional illumination, yet has a very low power draw. Its light weight means that it can run anywhere light is needed. We've also packaged it in a completely functional kit that is designed with an eye to future expandability." The new Litepanels kit delivers a portable, flexible and accessibly priced solution for content creators on the go. The Caliber 3-Light Kit is listed at $995 (£617) and is a great, low-cost investment for any professional looking to work more efficiently. For more detailed sales information, please visit http://store.litepanels.com/. More information on Litepanels can be found at www.litepanels.com or follow us on Facebook.
  20. Hello, Here i would like to clear some questions raised before starting a new project.. as i shared my equipment i have and the question how to use them for better result.. I am now doing a job for the first time on DSLR and have so many questions and need all the help you all can provide. The gear available to me: 5d3, 1dx Zeiss 14, Zeiss 35, Zeiss 135 (on its way) Fluid head tripod. Lexar 1000x 32gb UDMA 7 card A three year old Imac for editing. Nature of job and crew: I will be going to small villages and shoot lifestyles of people as artistically as I can. I will shoot lots of interviews with audio. I have a focus puller and lighting assistant. I want efficient frill free equipment set up that does the job. However, keeping gear light is not the first requirement, getting professional output is. The edited videos will be viewed mostly on internet and at times projected on a mid size screen. My questions: 1. Do I need another monitor besides the LCD on the camera to check focus etc? 2. Which is the best slider for price for DSLR? 3. Which is the best way to record audio? Do I record on camera or external recorder and sync using a slate? I have a BeachTek DXA-SLR available for free. Is it any good? 4. Should I use Magic Lantern software or original Canon RAW? If magic lantern, then which version? 5. What is the ideal ISO for video? And if not ideal, what is the acceptable range for noise free work. 6. Is 1/50 the only shutter speed to work at or it does not matter? 7. Will my Imac be ok for the edit? I will not buy an Imac now until it is refreshed, but just want to prepare myself on the speed of edit. Thank you!
  21. Hi Cinematography.com, I'm a second year film student and an aspiring cameraman/D.O.P. I am currently working as a junior editor at a production house for the summer, and am wondering what I should invest my money on once I've compiled enough when school starts! At the moment, I am wondering if I should invest in two decent lenses, lights, filters, and grip stands instead of a camera body such as GH4 + lens. The reason is because I will have another year of school, which means access to cameras such as F3 (Hell even Bolex h16) till April 2015 + 6 months graduation equipment rental blessing from my college, and by then I'm kind of worried that the next best deal will be released. Also I am not too crazy about 4K resolution or slow-mo... I'd much rather prefer that Wes Anderson X Robert Yeoman look or films by Hirokazu Koreeda. (I am a wide-lens fanatic) So my question is, would it be a wise choice to invest in equipments other than a camera body? Or should I be focusing my attention on something else? I'm hoping whatever I will squeeze out of my 5 grand will help me on the long run rather... If you can help me with my inexperienced and confused self, then it is very much appreciated. THANK YOU.
  22. Hey there! I'm thinking to get few new lights for my "studio" and for now i've used DIY continuous lighting. My principal question is: can i buy 3 strobes for photography and use the modeling light instead of using simple fluorescent lights? I'm asking this because i like both video and photography and i'm searching for a type of lights that i can use in both applications, where i can put umbrellas or softboxes on them. It's worth buying them? what is the temperature of the modeling light? Thanks :)
  23. Hi. Anybody with a good idea to do a top ambient room light set up that is as flat as possible, but still easy to control? Normally I use China balla or kino flos, where the main light source comes from the windows. Thank you, Henrik A. Meyer www.henrikameyer.com
  24. At the risk of sounding silly & being shut down by purist and snobs. Has anyone used an LED ceiling panel on their shoots? These options on lighting has become more price realistic nowadays. You can compare them to poor mans Halogen Work lights (not as bright) if you wish but they are an option. I hear this all the time, "only work with 'proper' equipment when on a commercial shoot", but if Garrett Brown hadn't done that, the steadicam would not have been invented even less helped the movie win the Oscars on its first unveiling. (Not saying that i am like G.Brown) I have come across a 120cm x 60cm x 1.2cm(12mm) panel with 80watts, 8500 lumens, dimmable 5500k, cri 80-85 for about $200 Hack at that price i can have 5 of these babies with lights stands with filters for 1 Diva kinoflo. Would be great to hear opinions about this. Taggerty
  25. Hey all, Question: I noticed when I applied 250 half white Lee diffusion filter on the barn doors of my Arri 1k, that it changed the color of the light even more yellow. Despite the fact that the camera was balanced for tungsten. It was even worse when I doubled up, the diffusion. This effect may or may not have happened when I used a dimmer to lower the light power, it had the same effect. If this is normal, this will make color balancing a nightmare. The lights were not on for that long, say half hour or so. Cheers, Mike
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