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Found 325 results

  1. Hello there folks. My 2.5 strand hmi barn doors have unfortunately have gone missing. This light is a linch pin in my kit and is pretty useless without the barn doors. I just wondered if anyone had any spare ones they are willing to sell. I have searched the internet looking for them and had no luck. Any leads or suggestions of where to look would be deeply appreciated.
  2. Hello everyone, I've been involved in video production for a while now and am now keen to learn more in depth about lighting and getting more experience in the field. Reading about meters, I understand how helpful they are in determining contrast ratios and light levels on interiors and locations, and are especially beneficial when shooting film (I'm getting into shooting 35mm stills lately). My max budget is around £200-400. So far my eyes are on the Sekonic L308X for its footcandle/lux readings, easy-to-find battery and size. However, the things holding me back are: Lack of head rotation (not a good look on set?) Flat disc accessory might be easy to lose Lack of spot meter reading Ideally, I'd love to have a 758 Cine, but I find they're hard to come by on ebay (plus can get a bit pricey if in a bidding war). I could go for any of the high end photographic meters, but I'm unsure about the lack of footcandle/lux settings in a majority of them. Is this a problem if I need to perform/communicate something quickly? Would I be better off getting a cheaper lux meter separately? Ultimately I hope to buy something that's reliable for starters, but will come in handy years down the line. Thanks. 🙂
  3. Hi Masters, do you know what is dynamic lighting.
  4. I'm shooting a music video inside a restaurant with drop ceiling (location) and would like to create practical overhead lighting (like this) to give us more freedom with our framing. In the example above -- it looks like they popped out tiles where they needed light, laid out a large cut of diffusion across several tiles and placed individual fluorescent tubes (astera, quasar or kino?) on each rectangle. What do you think? Can anyone provide any helpful ideas on how to achieve lighting like this on a modest budget? The restaurant also has several 3-bank T12 fluorescent fixtures already installed. I'd like to replace these fixtures with T12 kino tubes but the location is pretty dated and I'm worried about flickering because of old ballasts. How can I tell if the ballast will produce a flicker? I looked around the fixture and didn't find any specs printed on the side.
  5. Upcoming summer fashion shoot for a sunglasses campaign. The creative requires throwing shadows into the space to emulate sunlight coming through a window/casting shadows through exotic plants etc. We're working on a bit of a tight budget, looking for recommendations on how to light a space like below (it's a photography studio), to achieve close to the look on the example storyboard from the client. There's a lot of natural light in the studio space so we'll need a good bit of light to create a decent contrast ratio between sunlight & shadow. I'm thinking potentially one Arri M18 through CTS/CTO and actual plants/windows cut out of cardboard to motivate sunlight. That's pretty much as far as we can stretch the budget in terms of hiring lighting. We have 1x Aputure 300d and 1x Aputure 120d available already with 1x floppy & a few flags for neg fill. Also, can anyone recommend any window/plant gobos? Unsure what we'll end up lighting with, and I've never used gobos before... Any advice would be awesome, Cheers!
  6. Hi! I'm studying cinematography in Spain and I'm gonna be DoP in a school short film. I have to design a lighting for a dance sequence with a couple dancing slowly together. It's gonna be shot in studio, we have multiple tungsten about 1KW, 2KW, also Velvet light panels, fresnel HMI 1KW, 2KW. One requirement is that it must be a theatrical light. I have thought about hanging lights on the characters, adding smoke, and coloring the backgrounds with jellies. There is also the possibility of getting light through a false window. I wold like to incorporate neon lights, led strips, or something like that in the background. Do you have any purpose to design the lighting for that? Thanks in advance!
  7. Hi, How would you go about and light this room for a moody feel? There is no budget and no crew. I have a couple of small lights 1x300w + 3x60w LED and a LED panel, a hazer and a big roll of ND. I also have 2x Yeelight RGB bulbs. So what do I need more? I look forward to hear your ideas 🙂 Thanks a lot /Per I love the look of this:
  8. Perfect conditions! Regular import with box and genuine Sekonic pouch. Asking price is €850 If you don't have an EU or UK VIES enabled VAT ID I have to apply local VAT.
  9. Hey All, This may be a random and or simple question. But recently when talking to a few DPs they have mentioned using large Matth Bounce for a night exterior scenes etc. I tried to google this to research and see what this Matth is all about but not much comes up. I did have poly bounce come up. I have used Black and white Grifflon before but never Matth or Poly Bounce. Any buddy know the technical differences between the 3? How reflective is one compared to the other etc. Thanks! I really wanna know what these tools can offer.
  10. Hello all, I’d like to get the word out about my book, which is coming out this month. I have been teaching lighting at Fairleigh Dickinson University for the past 12 years and while there are some excellent books on cinematography out there, such as Film Lighting and Reflections, I never found one on lighting that was directed towards film students and cinematographers who were lighting with limited resources. My students found those books inspiring but not immediately applicable to what they were doing on the films they were shooting. I started as an AC, then become a best boy, gaffer, video LD and indie cinematographer and worked on so many different kinds of productions with so many different budgets that I was able to developed a course that was a good foundation for young cinematographers to help guide and inspire them to do creative lighting on a budget. Two of my students have gone on to be accepted into the AFI cinematography program while other students of mine are now working as electrics, gaffers, ACs, camera operators and one is a great steadi-cam op. At a film teachers convention I was approached by an editor from Bloomsbury Press and asked if I would write my class into a craft book that could be used by other colleges and budding DPs. I said I would if she promised they could keep the price down to under $30 – as I know how expensive textbooks can be and how few students will actually buy the expensive ones. While this means I would get a tiny royalty, I didn’t really care, because I wasn’t doing it for money – but rather as a way to give back. I learned so much from so many, it is our obligation to pass on the art and craft that we learned and love. She agreed. The result is "Lighting for Cinematography: a practical guide to the art and craft of lighting for the moving image", now available from Bloomsbury Press and Amazon. Lighting for Cinematography, the first volume in the new CineTech Guides to the Film Crafts. Broken down into 14 chapters with exercises at the end of each, the book is designed to help the reader create lighting that supports the emotional moment of the scene and contributes to the atmosphere of the story. Chapters cover such things as lighting for movement, working with windows, night lighting, lighting the three plains of action and non-fiction lighting and include stills and lighting diagrams from indie budget productions. also my website www.lightingforcinematography.com
  11. Hello, When you are metering a scene, do you meter for the camera's dynamic range, or for the 6 stops in SDR or the 13+ stops in HDR? For instance, if your camera has 6 stops of highlight dynamic range, and 8 stops of shadow dynamic range, do you keep everything in your scene between those 14 stops or do you keep everything in between the lets say 6 stops of standard dynamic range? I hope this question makes sense! Thanks in advanced to anyone who can help! - Matt
  12. Hey all! I'm doing a showreel shoot this August, and it will probably be really sunny and have a out door location coming up. Due to the limited budget and power available, the biggest light i can get is a off brand 2.5k HMI and a home made 6by diffusion from shower curtain. I was wonder if these are enough to make a impact? My indie rental house didn't tell me which model of HMI we are getting, but it's safe to assume it won't be as effective as the Arris (maybe matching output of M18 idf we're lucky) . I'm not diffusion the light, maybe a 1/4 or 1/8 cto max for some scenes. Any input will be appreciated as always. Jing
  13. Hi everyone! So I am doing a music video in a couple of days. 2 particular scenes I wanted to fill the background with Maxi Brute lights using them as practicals behind our band members (to resemble stage/star lighting). My location is a hotel and after speaking with the electricians there they have assured me they have enough power to run 2 of these lights off their main electrical room (the light is 3 phase and 62 amp I believe which has been giving the okay by the electricians at the hotel). I want these lights specifically to be used as practicals for when the band member walks on stage and we see these in frame lighting him from behind. Is there any other light that looks like the maxi brutes that I can use in the frame behind the performer? Or shall I continue down this route using these lights? Any suggestions would be appreciated or advice on these lights. Thanks! (P.S. This is the look I was thinking of)
  14. Hey everybody, I have a short film shoot coming up soon that's becoming quite a challenge. I've attached a rough floor plan for reference. Hopefully, soon I'll be able to go in and get actual measurements of the room. Basically, the scene is about a couple in their bedroom at night. The director wants a warm, somewhat dim look. The scene from Sicario when Jon Bernthal's character attacks Emily Blunt comes to mind, though far less of a silhouette. We'll be doing some tests later this week and possibly rearranging some furniture, but this is what I know so far: The scene must be done in one continuous take, meaning I will have to follow the actors as they move around the room from the vantage point of the camera near the corner. At various times throughout the scene, the actors will need to be at the mirror, the closet (it's a long closet with sliding doors. I'll be getting a profile shot of one of the actors looking into it at the spot I currently have them pictured at here), and going out into the hallway. With so much of the room being shot, and with the room being fairly cramped, I'm very worried about how I'm going to be able to light it and yet still manage to hide everything from the camera. My current idea is to rig up a wall spreader with two diffused lights (I'm thinking two 420w Peppers) aimed in the direction of my actors to imitate the glow of the lamps behind them. Then I'll set up a light in the closet to provide a little bit of fill, thus suggesting another practical source within the closet, but I'm honestly not sure how good this will look, hence why I'm planning to do some tests later this week. I feel like this is going to be pretty challenging, so I'd be very thankful to hear whatever thoughts or advice you guys might have.
  15. Hi Does anyone know a more affordable version of the 2 tube holder with baby pin that you can use with quasars? https://modernstudio.com/products/dual-fluorescent-lamp-holder-with-5-8-pin Have been searching everywhere but can't seem to find anything below $55. Any help would be greatly appreciated, thanks!
  16. Hello. Film student here, looking for some advice. I've got a scene coming up that I want to set at sunset, but not wanting to confine my shoot to an hour a day I'm hoping to replicate that time of day instead. There are two locations to be lit like this, both interiors with windows and white walls. The way I'm thinking of pulling this is by shooting a HMI (at least 1.8 K, but could go higher) and relying on bounce from the walls to give more interior light, then cheating in a silk or bounce for fill lights in tighter shots while using the "sunlight" as key light. also flagging and neg-fill where needed. Either gelling the HMI or grading for the sunset color. Will that bounce be enough to fill the space and brighten up all the non-wide shots? Does it sound like it'll be a convincing replacement? Is grading the color in at all wise, or should I go to lengths to color the light on-set? Any help and advice is much appreciated!
  17. OP is the question, although I also am wondering if these drop ceilings in the attached picture work with scissor clamps? I can't tell if the gap/space down the line is just cosmetic or functional, and these pictures are being sent to me.
  18. Hi everyone, thanks for looking through and the advice ahead of time. I have a shoot fast approaching and I'm debating the best way to light my exterior scene for an upcoming commercial. We will begin shooting early morning and we will see a family enter an amusement park from one angle where the sun is backlighting them - and then we will need to reverse the camera to see their POV. It will be a very sunny day I'm sure with no clouds so we should get some nice backlight. I'm debating however whether to front lit with a large ultra bounce (20x20 or 12x12) using the sun to light the family of 4 as they walk in (Wide - Full shot of family - then MID CU of each member). OR if I should also blast some M40s/M90's into the ultra bounce OR light them using 2 of these lights with diffusion frames or softboxes over them. The location has access to 63 amp power so we could run cables to take this power. I want a high key commercial look but want to go down the wisest route here. I have attached a sketch (actual location) in order to get a better idea.... I also plan to use a Job at the back of the family at the end of the street for an establishing shot... Also after I get this I will have to move the camera around facing a street of performers so they will all be front lit by the sun. I could film this first in order to get a more pleasant look with the sun being lower (Maybe use the Frames with Diffusion in case of any camera shadow if need be) and then film the family. Reference Picture attached... Any thoughts you may have on this or experience with similar setups would be super. Cheers all!
  19. BB&S Area 48 LED Light https://www.bbslighting.com/collections/area-48-studio-led/products/copy-of-area-48-studio-led-fixture-with-remote-phosphor-panels https://www.bbslighting.com/collections/area-48-studio-led/products/area-48-soft-high-cri-media-3200k Comes with.. v mount adapter 5600 and 3200 interchangeable panel ac adapter dual light soft case cstand mount snapgrid 40 degree snapbag $800 contact me for photos
  20. I have two lights with bulbs that need replacing, but these are halogen lights that kind of intimidate me still. One of the lights is a PBL MXLIGHT with two long skinny halogen bulbs, The other is a Britek. I took the bulb out of the Britek and it says "500 watt 120 volt" on the side, but no brand name. So two questions: Will any halogen with the correct watts and voltage work with a halogen light And: If i use a lower voltage and wattage, will it work but not be as bright? I don't want anything to explode in my face here. I found the website 1000 bulbs but I don't want to buy without confidence. Most videos i'm finding online are for LED's which I neither own nor am a fan of.
  21. Hello, Was wondering if any of you ever used a Skypanel S60 with an Anton bauer Cine VCLX block battery? I know battery voltage of Cine VCLX has max 28v (3pin XLR) which reduces light output from S60. My question is mainly regarding cabling in order to power the Skypanel on this type of battery. Arri don't seem to have/sell a cable or adapter from Battery input on the head 23-36V DC (4 pin XLR) to 28V (3 pin XLR) output on the Cine VCLX. Do you, in that case, DIY the cable? In which case, what recommendations do you have for AWG of cabling, max length and/or other useful information regarding wiring specs would you have for me? Thank you!
  22. As a DP, how do you communicate your orders to your team on set? (e.g. Light ratios, light modifications, rigging)
  23. 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.
  24. Harris-Chewning, Inc. is a production rental company in North Carolina with many years of service and dependability. We rent LED, Kinoflo, HMI and tungsten Lighting. Grip trucks from 1 ton to 4 ton. Cameras and support gear: Arri, Sony cameras, Alura, Zeiss lenses, monitors, etc. Harris-Chewning, Inc. 148 Stancell Drive Chapel Hill, NC 27516 919 942-7997 http://www.harris-chewning.com
  25. 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 🙂
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