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Is there way for someone like me to start using a generator so that I might power an M40 or an Arrisun 60? I love the M18 because I allows me to work with a decent amount of light on a very small budget. I've been shooting commercial projects on a thin budget by running with one M18, a few fluorescent fixtures a great deal of light modifiers. In the states, I believe an M18 is about the most powerful light you can run off a house or office circuit. (If there are more powerful options, I'd love to use them) Is the answer as simple as renting or buying a 6500 watt portable generator or is there more to it?
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.
Hey Everybody, I'm new to the forum, but I was hoping to get some advice from you guys here. I was asked to light a night for day scene for the web series that I have been gaffing on. This isn't the biggest of problems since it is an interior scene. I've lit this place before, and I've only had to deal with making small windows appear to have sunlight coming in. But in this shoot the main character has a conversation in front of 2 glass doors. It is in a garden level business with the glass doors opening onto a patio area in the front. To top it off, the scene is supposed to take place at dawn. I can think of a couple ways of lighting this, one being more ideal on a visual standpoint but I am not sure if I have the lighting power to pull it off. I'll start with that one. Idea 1. Have 1-2 lights aimed through the windows to give the character his rim light while aiming all other lights on the patio. This would hopefully allow the background to not be totally blown out and it would create a more interesting shot. My biggest concern here is that we will also be able to see the dark buildings across the street. This all depends on the camera angle, but obviously the DP is not going to want to shoot down on the subject to avoid this. Idea 2. Use diffusion on the doors and blast light through them to give them a blown out look. Obviously this will make for a less interesting shot and I don't want this episode to look like a pile of trash as it is Ep. 1 and everything else we've shot has been looking stellar. Idea 3. tell the producers to go **(obscenity removed)** themselves because shooting in the actual morning would look dope as hell and they need to stop being cheap **(obscenity removed)** bastards. Personally I like the third Idea, but the DP and I have essentially already tried this. Any thoughts? I have all tungsten lights. 2 1k's Lowel DP kit with 3x500 w 200w tweenie 2 500w broad lights and a few more random lights the rest of the crew might bring. Hopefully i can get my hands on a couple 1.2 HMI's before this shoot, but it's up in the air. I'd also take Ideas for gelling the lights to make it look more morning like. I believe a more orange look here is pretty common, but i'm open to experimental ideas. Also not sure if it matters for sake of dynamic range, but we will be shooting on the FS 700.