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Found 19 results

  1. As a DP, how do you communicate your orders to your team on set? (e.g. Light ratios, light modifications, rigging)
  2. 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
  3. Good evening ladies and gents, I just came back from my C&G BS:7671 18th Edition exam and realised that I'm still missing some information regarding the legal requirements to call oneself a lighting designer/gaffer/spark in the UK. I thought maybe it would be a good idea to open a thread about these details especially here where(UK) you cannot just decide overnight that you want to be a gaffer but actually need to get qualified. My questions are What are the minimum requirements to call yourself a Spark or taken seriously as one? (besides BS:7671, I heard that also NA7909(3) is recommended to get things started) Do you need to get certified as an electrician to even begin your journey towards becoming a gaffer? In your experience as a gaffer, which qualifications/courses you absolutely had to get to be part of larger productions? Can you be part of an union if you are not fully certified as an electrician? (e.g. BECTU) How far can you wing it as an unofficial gaffer? (uncertified) Which is the point where the law prevents you from working on set no matter your experience? Thank you for your time and hope other users will find this helpful ^__^ Best, TheDragon
  4. Hi all, I am headed to Louisville, KY (location is close to the airport) to shoot manufacturing floor b-roll and customer interviews. Need a Gaffer with 1/4 ton along with a dana dolly on baby rollers and a Joleko (400 or 800). We shoot on 9/18-9/21. Out of town crews would need to treat as a local. You must have a valid US Government issued ID (a current driver's license will do). My client is a DOD Contractor so if for any reason you are not comfortable working for such please do not respond. Please contact me at sid@firstframe.com Feel free to text me @ 9785010488 - I will not answer incoming phone calls that I do not have in my contacts. Look forward to hearing from you and thanks for your understanding. Sid
  5. I wanted to add my new book as an option alongside the classics from Blain Brown, Harry Box, and John Jackman. Shaping Light for Video in the Age of LEDs; a practical guide to art, craft, and business of lighting. By Alan Steinheimer. 2018. Available now at Amazon and B&N websites. Shaping Light ... is a practical, hands-on guide to lighting for video. Using a Dummies-style approach, the book explains lighting techniques through real-world examples, including recent updates on the groundbreaking use of LED lighting and wireless control options. This book focuses on firsthand application of technical knowledge, to appeal to cinematography students and video freelancers. Beginning with simple lighting setups and progressing to more complicated scenarios, the book holds the reader’s attention with illustrative anecdotes, and links theory to real-world applications. There is a 30 page glossary/set vocabulary at the end that would be useful to most newbies. The e-book is coming as well as peering into the first 16 pages at Amazon.
  6. Hello Every One! Thanks in advance for checking out my post. So as the title says, my work is building a video studio. I work at a toy company as their in house video guy (1 man department). This is a brand new position and its quickly evolving. When I started, I was making simple product demo videos for retail sites and social media, now we are building a studio with the goal of producing some of our TV commercials in house. That being said, lighting equipment is not my strongest area of expertise. Basically my question Is, If you were investing in lights to build a professional studio. Which lights would you buy? I know its a very open ended question, but in doing research, I'm finding that there is plethora of choices and its making me more confused than anything. I know that there isn't a magical configuration of light that will cover you for every need but what would be a good all around set? Im thinking I want at least one ARRI SkyPanel S60-C (maybe two) What other lights would pair well with it? Here are some examples of past TVC's we've had produced. Example 1 Example 2 Example 3 The studio space itself is 30x30. We are most likely going to install a Ceiling rail system if that makes a difference in selection. Please feel free to ask me any questions. Thanks Again, George Mills
  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. Hey everyone, I'm currently a student studying cinematography, and have found some dilemma when working with a gaffer. Often times I am very controlling in pre-production; I know exactly what light I want where with what gel and how many foot candles it will read. However, I feel like just handing my gaffer a floor plan is a disservice to them as a part of the creative process. What is your experience/take on the Gaffer-DP relationship? Where are the lines drawn? Who does what when in pre-production? Thanks a million!
  9. Hey all! Newer to the forums here. I'm shooting a senior thesis project coming up next weekend, and like any student project I'm trying to always up my game to the next level. We're shooting a lot of daylight exteriors, and I plan on setting up a lot of 10x's with diff to just get some more control of the light and to keep it consistently soft on close ups. My understanding of the workflow between G&E is still growing, and I was wondering what the gaffers role would be on a daylight exterior scene? It feels to me more like we would only need a KG on a day that we're just flagging, rather than creating light. Wondering if anyone could elaborate more on this.
  10. I'm just wondering if anybody could break down this scene in terms of lighting for me. Im shooting a short film for somebody next week and would love to achieve this sort of lighting set up. what i'm looking for is Light ratio Temperature softlight/hardlight Colour Gels Filters Lights that are believed to be used colour scheme Practical lights lighting position If anybody could help me out it would be greatly appreciated Thanks
  11. How do you hold your gaffer tape? Not using ToughGaff? Come visit us at the NAB, central hall, booth#C12636 Or check us out here, and buy online: www.toughgaff.com
  12. How do you hold your gaffer tape? Not using ToughGaff? Come visit us at the NAB, central hall, booth#C12636 Or check us out here, and buy online: www.toughgaff.com
  13. Owner/operator of a 2 ton lighting and grip package loaded with brand name industry grade tungsten, LED, daylight balanced and fluorescent lighting fixtures together with a full compliment of grip rigging gear, frames, flags, nets, stands and carts to support your next production. Providing SoCal with professional lighting and grip services for over 14 years. All my gear is meticulously maintained, serviced regularly and checked before every shoot. ARRI 1200w and 575w HMI Pars, complete tungsten package from 200w up to 2K open face and fresnel, Chimeras from 16x12" up to 4x3' including the Chimera 5/7' Octaplus...and so much more. ARRI, Mole Richardson, Litepanels, Matthews, American Grip, Norms, Power Gems. Industry grade gear coupled with the latest lighting and grip tools and techniques to enhance the quality of your next production. Only 1.5hrs from downtown LA. Close proximity to desert cities. For more info please visit: Calabrialightingandgrip.com (760) 692-7915 https://www.linkedin.com/in/nicholascalabria
  14. Boa Solutions Inc. 222 Islington Ave, unit 13 Etobicoke , ON M8V3W7 Open by app't, to suit production schedules, 24/7/365, but generally there 10am-8pm M-F, unless a booking is happening earlier. Website and pricelist going through huge update, and will all be at http://www.boa.solutions . Before that, please contact me for gear availibility / suggestions, and go to http://www.boastudios.com for the studio spaces I rep. Hi, I am Mir Lada, a Lighting Designer / Gaffer / Grip / Production Still Photographer that is owner / operator of this boutique motion and still production equipment rental house in Etobicoke (west end of Toronto), in one of Toronto's film hubs. Clients come back to me because of my practical and creative problem-solving, advice, and being able to realistically accommodate any budget and any level of filmmaker. Often, after dealing with me for figuring out gear, they will create the opportunity for me to come on board as crew, which then makes things extra easy for them, since I am completely dealing with and taking responsibility for the packing, transport, setup, operation, strike, delivery back, and check-in of the gear to accomplish the look they want. The 4000 sf warehouse space I recently moved has 16' ceilings, 20' wide hallways, adn huge truck docks, is currently still being set up, between shoots and tests, and will be divided half for rental gear storage and half as a technical studio / test facility. That means it has very basic client amenities / creature comforts, but a lot of assets and capability to accomplish a wide range of small to medium shoots at a reasonable price. Perfect for when what is in front of the camera is more important than the style of the facility. Great for music videos, small films, commercials, etc. Standing sets include wall flats, and many installed cloth cycs, including 90' white, 78' chroma green, 60' black, 30; chroma blue, and 8x8 Chromatte system. Power is 200A x 3 phase cam-lok, plus 175A single phase house power. Facility is lit with 1k cyc lights and features a 17x10 overhead lightbox with 10k tungsten and 5k daylight output. I also have a 1 ton van for location work, as well as a good truck rental service nearby, where I can roll in all my mobile carts, shelves, etc to create an up to 5 ton lighting and grip truck solution for location work. I also rep a 1750 sf studio right above me, owned by a DP, with a 30'x 10' hard cyc. Spaces can be combined for same production. Lighting includes, with often multiples on-hand (over 500 lighting fixtures): Arri L7-C Arri Locaster 1x1 LED's Mole Biax KinoFlo 12k fresnel HMI 6k fresnel HMI 4k fresnel HMI 2.5k fresnel HMI 1.2k fresnel HMI 575w fresnel HMI 200w fresnel HMI 6/12k PAR 4k PAR 2.5k PAR 1.2k PAR 800w PAR 575w PAR 400w PAR 200w PAR 1.2k Profoto bare bulb 1.2k soft 575w flood 270w sungun 200w sungun Of course, hundreds of tungsten fixtures from 100w to 10k, including 6K Barger Baglite, 10' Jumbrella. I also carry a wide variety of practical bulbs, stringers, non-LED christmas lights, etc. Grip up to 20'x30' frames and rags, 28x78 digital green screen, 14'x30' black, 90' x 16' bleached seamless muslin, plus many smaller solutions. Besides a very broad and complete arsenal of motion lighting and grip, I have some more basic camera, sound, lens, and camera support gear available. 5DIII, 7DII, 5DII, 60D, D7000, FZ1000, and dozens of the most respected Canon, Nikon, Sigma, and Tamron lenses: 14mm f2.8, 14mm T3.1 cine, 16-35mm f2.8 L, 16-35mm f4 IS, 17mm TS-E, 24mm TS-E, 35mm f1.4 ART, 35mm T1.5 cine, 50mm macro, 50mm f1.4 ART, 70-200mm f2.8 IS, 85mm T1.5 cine, 85mm f1.2IIL, 100mm f2.8 macro, 135mm f2. 300mm f4 IS, 1.4xII, Tamron 150-600mm f5-6.3, Tamron 2x, full cine rig, 7" monitor, Sennheiser & Rode mics, Axis Dolly, Portable platform dolly and rubber track, doorway dolly, 8/12 crane, several good sticks and fluid heads, Manfrotto Fig Rig, etc. If you or anyone you know has time, but limited budget, but needs gear, while I am setting this place up, I am looking to barter with experienced people to help me, in exchange for equipment rental credit.
  15. Hi guys, new to this forum, I'm a London based lighting tech cutting my teeth in the industry. A year and a half working on sets, loving every minute. I love cinematography with a passion, and lighting is key. I'm hard working and diligent with a great sense of humour. Feel free to check out my credits and get in touch if you ever need a pair of hands. Josie http://thisbrightspark.wix.com/josiewilliams#!credits/cnec
  16. Hi, I'm currently a junior studying at NYU. I will be graduating around January 2015 and I am trying to plan for my future afterward. Long term, I'd like to become a cinematographer but I'd like to get there through gaffing because I genuinely enjoy working with lighting. I figure I gotta start getting grip and electric jobs. I am pretty skilled working with most basic to intermediate grip equipment and lights and am able to run power from breaker boxes to distro boxes to lights while adhering to the ring of fire. I'd prefer to join a union as soon as possible in order to get consistent work rather than freelancing too long. I'd love to stay in NYC if possible but it seems pretty difficult to get paying work for legit productions and impossible to get union gripping jobs without being in the union. From what I hear and can tell it is extremely difficult to join Local 52 the NYC gripping union. Alternatively, I could move to LA. Joining Local 728 seems decidedly easier than 52 with lower union dues. Also, from what I hear, it seems much easier to get legitimate production work in LA. Does anyone have advice on how to start gripping in NYC and joining the union? How much easier is it to get work in LA and how difficult is it to join 728? How plausible is it to join 728 soon after film school? Thanks guys.
  17. Hello! I'm planning for a student short and have just discovered the church we are shooting at has no mains sockets. The plan is to hire a 2.7kwa generator & run the (potentially 4x350w & 1x600w for a total of 2000w) lights this way. Is there proper procedure for grounding the generator/how should I go about this? Will using a 4-way extension cable for the lights be feasible or does this create any sort of danger? The company we plan to hire from has recommended that the generator be 20m or so from the building to keep noise to a minimum. Does this sound about right? Also, the estimated run time on the generator is 3hours, it runs on unleaded petrol. Is it possible to simply fill a petrol can up and have that ready to resupply or does the generator run the risk of overheating etc? I appreciate that some of these questions may sound like common sense, but having never used a generator before I'd appreciate any advice you can give! Thanks a ton, Scott
  18. Hi Guys, This is a bit of a long one I warn you, but I'd really appreciate any advice or suggestions people might have. I've reached a point in my career where I want to focus more purely on lighting and camera, and move away from the various ancillary creative freelancing jobs that have (till now) supplemented my film work. I'm pretty good at what I do now (and perhaps more importantly - I'm good enough) so I want to put together a small lighting and grip package that will allow me to gaffer on projects when I'm not shooting others (and basically just spend more time on sets). Now I am limited by the amount of space I have in the back of my ute (that's a "pickup truck" to my international friends!), but the following package is something I can get away with once I install some custom shelving. In terms of the lighting package my primary goals are speed, precision and control. Any time I can save setting up additional flags/cutters, means more time spent on takes (where it belongs), it's also more efficient - and I like that. Which is why I'm thinking I'd prefer these particular fixtures. The Dedo units offer more control than anything shy of a Leko, so it's easier to get the effects you want with them (having larger 650w units, and a daylight balanced 1.2k HMI version simply extends the scale of what I can do with them - relative to the standard 150w Dedos). I just picked up my first Area 48 Remote Phosphor softlight yesterday after comparing it directly to a Kino Flo Diva 400 (the standard softlight that I'm most confident and familiar with using) and it beats both the light output and colour accuracy of the fluoro unit by a considerable margin (by eye, I'd guess it's got about 1/2-stop more output), and the Area 48 offers the added benefits of being battery operable, lightning fast to switch from daylight to tungsten, and has no colour shift as you dim the unit (so your not having to add +green gels like you often do when you dim a Diva with tungsten tubes - so there's time saved there as well). Now obviously this kit is a fair bit different from the standard small lighting package you get these days - which seem to generally consist of a couple of HMIs, Blondies, Redheads, Tungsten Fresnels, Kino Softlights & a couple of 150w Dedolights. So what I'm most interested to hear, is whether people would actually want to bring in a gaffer with a package like this? I feel pretty confident that I could light everything that I'm used to lighting with a conventional small package, faster and more precisely with this package - but that's irrelevant obviously, if no one wants to hire me with a package they're not familiar with. So what do think guys, is this a solid package? Would you want to work with it? And if not, what would you want to be different and why? This is going to be a substantial investment for me obviously, so any thoughts or suggestions would be much appreciated! Cheers, Mark (items in bold are the things I don't own yet) Lights: 1x 1.2k HMI PAR 1x 1.2k HMI Dedolight 2x 150w HMI Fresnels (capable of 5600k and 3200k, 650w tungsten equivalents) 2x 650w Halogen Dedolights + dimmers 2x 150w Halogen Dedolights 2x Area 48 Remote Phosphor Softlights (capable of 5600k and 3200k - they're Kino Diva 400 alternatives) 3x Z96 Small LED Panels Grip: 5x 40" C-stands + Grip Heads + Grip Arms 6x standard light stands of various sizes 2x 4'x4' Floppies + assorted blacks 2x Gel/Diffusion Kits 4x Umbrellas (white, gold, silver) 1x 2'x3' Digital Juice Flag Kit (nets, silks, black block etc) 1x 6'x6' Overhead Butterfly (with silk, and ultrabounce) 3x 4'x4' Diffusion Frames (216, 250, 251) 3x Scissor Clamps (for ceiling frames) 2x 2'x3' 4-in-1 Reflector Frames 3x Cardellini Clamps 6x Super Clamps 2x Magic Arms 10x Shotbags Power: 1x 3.5kw Portable Generator
  19. Hello everyone, As the title says, I'm a gaffer from Germany, 22 years old and currently train as an event technician at the WDR studios in Cologne, Germany. Event technician is the official term for the apprenticeship, which includes studio work as well as live situations such as concerts and parties. However, most of the time I work as a gaffer in a studio environment. As far as i know the dual education system in Germany is somewhat different to most other countries, so here you can get further information, in case its important. So my contract will end in about a year and i feel like I need a new challenge, see how other people work in order to advance my skills. Anyway, what I wanted to ask you is, whats the best way to get this going? I know that I need to find a job in advance to get a working visa. How do you see that chances of finding an employer who is willing to put himself in the struggle of bringing me to the country? Whats the best platform to look for jobs? I'm glad for every piece of information on this topic as I feel kinda lost in the jungle the breaks open when you google for media jobs. Thanks in advance! Johannes
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