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Found 37 results

  1. Hello everyone, My name is Tayyib Mahmood and I am a film student from Birmingham City University (UK). I am in my final year and currently writing a dissertation on LED and Tungsten Lighting. Now the question I have is for all DoPs, directors, gaffers etc. I would like to hold a Skype interview or even email to document your opinions about LED and Tungsten lighting. Is Tungsten lighting becoming finite and are LED lights taking over the film industry? Is there a reason why Tungsten lighting is the predominant force in the film industry today? What issues do filmmakers have with LED regarding CRI, the look etc. If anyone can get back to me, I would really appreciate it.
  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 🙂
  3. I read most of the related topic that you need a proper generator to power up the hmi and kino. So can I use any generator for tungsten light? mostly for the light under 1k.
  4. Hi, I'm looking to shoot a night interior scene and had a few questions about practical bulbs. 1. Is there a specific brand of bulbs that will work best? Or you can recommend? 2. Whats an ideal wattage for the bulb? 2. Do frosted bulbs work better? 4. Do I have to worry about tungsten bulbs flickering? 5. Is a dimmer necessary? Thanks!
  5. Hello, It's that time of the year again! I'll be shooting outdoors, in color. I'm not sure what the Daylight/Tungsten filter setting should be. 1. Does the camera automatically detect that 7203 is a Daylight stock, therefore effectively pushing the 85filter out of the way? 2. Does the user have to set the filter switch to Tungsten to make sure the 85filter is out of the way? 3. Should I just always keep the filter switch set to Tungsten (light bulb), so that the 85filter remains out of the way? Thank you!!!
  6. 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
  7. Hey guys! My first post here ;) Currently I'm prepping to shoot my first short-film. I've worked as a DP on commercials and documentaries, but never on narrative film. The script I'll be shooting involves a great amount of tension on the characters almost from beginning to end, so, along with the director (we've worked together a billion time, also as a directing duo) I'm deciding how to bring this tension to the camera. Hard sunlight hitting the subjects face on a low-key enviroment is a great option, but I'm seeking ways to create this tension/contrast through color/color mixing. "Moonlight", shot by James Laxton is a nice reference, so, I was wondering how Laxton accomplished some shots, especially these ones: On an interview, Laxton says he changed the greenish fluorescents from the restaurant to get this blue look (although at the exterior shot they seem quite green to me), the one working as a backlight on the interior shot. I was wondering what kind of lamp is that and at what temperature? I imagine that the inside tungstens are 3200K ~ 2800K, but the outside blue is just to blue to be a regular daylight 5400K. Also, at what white balance was the camera set to be able to capture yellow from the inside and blue from the outside? Thank you guys very much, really happy to be a part of the forum ;)
  8. Ebay Listing - https://www.ebay.co.uk/i/302662389272?rt=nc
  9. I'm selling two LTM 10k Fresnel lights. Both are in reasonable condition. I'm based in Europe so shipping to Europe only. http://www.ebay.ie/itm/202083804910?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 http://www.ebay.ie/itm/202083805648?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 and used 10k bulb: http://www.ebay.ie/itm/202084009528?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649
  10. Hi, i'm currently in my second year of Uni and for my dissertation my question is "Will LEDs Lights be able to replace every type of light used in film production? " If anybody who has knowledge of different types of lights could help? By doing this questionnaire I'd really appreciate it thank you. :) https://docs.google.com/forms/d/e/1FAIpQLSd75cWHDKLyzAQ4gygI19yFEOWUUhkpW1tTUJZZWWP9uVXvmA
  11. http://www.ebay.co.uk/itm/Dedolight-5Ft-Panaura-Daylight-Tungsten-Kit-Eggcrate-/302468506880?hash=item466c872500:g:PVsAAOSwkWNZobb3
  12. This is the first of MANY posts I am probably going to do, on this and also on other filmmaking website. I have a huge (very SPECIFIC dream) of an independent motion picture I want to make, and have all these ideas knocking around in my head, and am overwhelmed and unsure where to begin. These forums would appear to be my only savior in making sense of all of this and getting advice I can use on my Film Adventure! :) Therefore, the first two of the many questions are these: 1) I have noticed in many older films (1980's and prior) white artificial lights will have a bluish hue to them, including headlights, when in the dark or low light situations. I love that effect and want to achieve that on my film. I have heard something to the effect of that you can get that effect if you use tungsten film as opposed to daylight (something about the emulsion color balance, I would assume). So, is that necessarily the case, and if not, what do I do to achieve that effect? (WITHOUT using a CTB) 2) I am not going to be using any special effects at all. My film will be straight-up, 100% film sent through the camera and then processed. I want my film to have a specific hue, graininess, and even color balance that was common in films from the 80's, and more of an extent in the 1970's and 60's. Below I will include a link to a clip of a 1975 movie that shows a close representation of the look I want. The question therefore, is what brand/type/speed (and any other specific data) of film do I use to get that look? If that is even possible. Thanks so much for all of your help and answers! I feel intimidated by all of the talented cinematographers with all their experience, but at the same time count myself lucky as I can avail myself of it! :)
  13. Hey guys, I'm a 24 year old Cinematographer living in Seven Sisters, London. I recently shot a film called The Mechanic. Its a 60 second doc about Bo Hare, a mechanic and engineer working in rural England, who finds pleasure in the restoration of classic cars. Shot on a Blackmagic Ursa 4K with mixed tungsten and practical fluro lights, i'm a cinematographer, but I directed this as well as shot it. Drone shots on a DJI Inspire 3 Adv. Used vintage nikon AI-S primes to shoot everything, very much recommended if you are on a budget, tons of character, they flare beautifully. There is going to be a longer version forthcoming, but this cut dives straight in to the character and is hopefully an intriguing minute! https://www.youtube.com/watch?v=h6oVWtugUyo Its for a competition running by Sony Europe where I could win a camera, so if you enjoyed it please like it on youtube..! :) Feel free to shoot with any questions or thoughts! Orlando
  14. Hi All I am a Uni student studying film and working as a spark and gaffer on low budget productions in London and was wondering if you might be able to help me out with my dissertation. I am doing it on LED vs tungsten and the effects on the industry, changes to the working environment compared to tungsten and the more technical sides of LEDs. Many thanks in advance Peter
  15. Hello, Looking to buy the right gel for balancing my tungsten Blondies to match the color temperature of my daylight balanced fluorescent panels. At first I thought I'd just gel the Blondies with a full CTB, but then I saw the 241 "Fluorescent 5700K" gel. It looks more teal than blue, I'm guessing they added a little bit of green to compensate for the green in the fluorescents. I'm a beginner with using flo-lights, so my questions is - would I be better of with the 241 on the Blondies OR doing the full CTB on the Blondies in addition to adding a minus green to my flo-lights? I mean, I wouldn't want that extra green in the flo-lights anyway, right? For the second option, any experience on how strong a minus green I'd need? And also, for those of you regularly using fluorescent panels without any other type of lights involved, do you always add a minus green (and in what strength) as a rule of thumb? For the record: I'm not on an original Kinoflo kit, but the cheaper competitor "Flo-lights". Thank you and have a good weekend!
  16. Hi everyone, I am shooting a music video this weekend inside a church with big windows on both sides. Taking place at night. On one side of the church, I want to blast some 2Ks through the windows at an angle to create shafts of moonlight. The interior of the church will remain dimly lit with just some candles and maybe some simple fill for his close ups, but we want high contrast for silhouettes etc. We've got a hazer ready to go for the shafts of light. But I can't figure out how to hide these combo stands that the lamps are on. We want them to all be placed directly in the middle of each window. The windows are tall and wide, so you can see out of them easily. If we blast the light in at a downward angle, do you think it will be so bright that the stand won't be visible at all? Any tips or tricks?? I've read some people talking about using mirrors to reflect the light, but we won't have access to this.
  17. 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
  18. 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?
  19. Hey everyone. I have a week shoot coming up were the budget is quite tight for me. The cheapest option is to get tungsten lights for the film, however we have a few scenes interior day and a few night scenes were we want to show moonlight. There is possibilities I may be able to get my hands on 2x 1.2 HMI's and 1x 800 Joker however to help with this. Our last 2 days are in a studio I have to light for moonlight and daylight through the set bedroom. The studio will give me all of there lighting for free however it is all tungsten lights. To give myself a bit more budget I was thinking of returning my lighting kit 2 days early before we shoot the studio bedroom scenes and just use there lights. Although this would mean me using only tungsten lights for moonlight. There strongest light is a 2k Fresnel and they have a wide variety of soft lgihts and hard lgihts between 300 to 2k around the studio. Would this be a good idea or do you think I should bring HMI's to the studio for the moonlight scenes? Will I be losing to much light gelling the tungstens for moonlight?
  20. I just purchased (30) M18's yesterday. Planning you're next shoot for Dec? or 2016? Give me a call or PM. We make renting easy with no hassles. The M18's have the New Lensless MAX Technology. My shipment comes in first week in dec. Will post pictures soon. Based in Los Angeles. Runs on Most Domestic Household Sockets and has an equivalent output of a 2500w-4000watt HMI. This is the brightest light you can plug into a 120v 20amp outlet. PACKAGE SPECIALS: Rent (5) M18's for 5 days or more and get $145 day Rate. (high speed ballast) Rent (10) M18's for 10 days or more and get $110.00 day Rate. (high speed ballast) Rent (10) M18's for 30 day shoot or more and get $65.00 day Rate. (high speed ballast) (30) Arri M18's Available. 1800 watt. Included in the kit: M18 Light (Lensless Technology) High Speed DMX Ballasts (flicker free) Feeder Cables Diffusion Scrims Barndoors Globe (1800 watt) Daily Rate $199. A la Carte pricing available. No insurance? No problem.. we can work something out to fit you're needs, or send a rep to your set with equipment at no charge to you. We also deliver and pick up within 20 miles at no charge to client. Also have other grip equipment available, a full equipment list will be posted soon. We also do Red Carpet productions as well. https://www.facebook.com/Kroma-Events-271725876261205/ Drew or Steve Kroma Events Productions 310.345.2021
  21. FOR SALE - http://www.ebay.co.uk/itm/Dedoflex-Octodome-5ft-DLH1000S-Tungsten-Soft-Light-Head-/301989158959?
  22. https://www.youtube.com/watch?v=olwYxXWHBz8 This is a scene from Peaky Blinders and I'm interested to find out what lighting techniques they have used to achieve this look and possibly what equipment and practicals have been put in place for the contrast lighting shown. Did they use a haze machine?
  23. We sell dimmers for incandescent lamps, 3 different models. The smallest one up to 3kW (able to work with an Studio 3000W) The bigger one (at the moment) is up to 7kW with double output. 16A + 32A plugs and the dimmer works with two lamps at the same time (up to 5kW + 2kW lamps) The Flicker Dimmer is up to 3kW and it has the capability to generate flicker for special effects The small dimmer cost £99, for more info you can check it in the website www.strikedimmers.com
  24. eBay link : http://r.ebay.com/44FOGE Brand new light bulb compatible with ARRI T24 20kW lamp G38 / T100 20000W 230V Part Number 54713 Item Weight 5 pounds Product Dimensions 8 x 2 x 2 inches Wattage 20000.00 Item Package Quantity 1 Type of Bulb Halogen Special Features Wattage 20000W, Voltage 240V, Base G38 Mogul Bi-Post
  25. Hey everybody, My name is Mike, I am an Electric and I will be gaffing for a short film. I have to recreate late afternoon light to shine through a window. My question is do I have a strong enough light source? My main light source is an Arri Tungsten 5k. The DP wants it about 20 or so feet away from the window. We are on the second story so the light will be on a stand about 16 feet high. The DP wants afternoon light (4300k) to shine through the bathroom window. So I will gel the 5k on a 4x4 frame with 1/2 CTB (4600K). He also wants some New Hampshire Frost on it. Using Arris Photometric Calculator I calculated the Arri T5 5k light source at: 21ft. Middle flood to give me a 3914 Lux. Aperture at F13.8 ASA 800 30fps Wikepedia says Lux for a sunset/sunrise to be 400,1000 for an over cast day, 10 000 for full daylight. My 3914 Lux does not take into account my 1/2 CTB gel and Hamphire Frost. So ultimately I am asking where my light is placed right now 20ft away though 1/2CTB and Hampshire Frost, do I have enough light or Lux to recreate late afternoon sun? Yes I can lower the aperture on the camera from the 13.8. Or should I rent a 10k. Keep in mind I only have one Grip to help me. Thanks a lot for any help in advance, it is much appreciated. Cheers, Mike
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