Jump to content

Search the Community

Showing results for tags 'studio'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • News & Press Releases
    • Lighting
    • Camera Operating
    • AC's & DIT's
    • Grip & Rigging
    • Visual Effects Cinematography
    • Grading, DI and Telecine
    • Students and New Filmmakers
    • Cameras Systems and Formats
    • Lenses & Lens Accessories
    • Camera Accessories & Tools
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • In Production
    • On Screen
    • Cine Marketplace
    • Business Practices
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Regional Cinematography Groups
  • Not Cinematography
    • Producing
    • Directing
    • Sound
    • Editing
    • Off-Topic
    • Forum Support

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Website URL


Skype


Location


My Gear


Specialties

Found 19 results

  1. Selling Arricam ST flight cases that used to belong to Arri Rental in Munich. Buyer picks up in person or pays shipping from NYC. Used but in great condition. Payment via Paypal - please contact jason@jmharper.com if interested. Arricam ST Body Flight Case - $250 See photos here: https://www.ebay.com/itm/303005703973 Arricam ST 400' Magazine (2 slots) - $150
  2. Hey all, I'm fairly new to grip work so I'm a bit stumped by this. So I'll be shooting this scene involving 3 subjects, all of which are situated behind a table with a black backdrop behind all of them to act as a background. It's just going to be the one wide shot, so the camera will be positioned dead centre in the middle of all of them. I've attached a photo complete with my expert illustration skills showing the placement of the subjects in the scene. So I'm looking for a lighting solution that can efficiently light all of them using as few lights as possible. The overall look will be fairly high-key, with a light on the backdrop so it won't look like a black hole behind them. My existing kit consists on 2x Nanguang Luxpad43 LED Panels, and I have the go-ahead to rent any additional lights I need (within reasonable cost, of course) I'm torn between two possible setups: 1. A large diffused soft key in the centre that casts on all the subjects, with one light at camera right near the backdrop to act as fill for Subject 1 and backlight for Subjects 2 and 3, and one light at camera left near the backdrop to act as fill for Subjects 2 and 3 and backlight for Subject 1. Finally, 1 additional light for the backdrop as described earlier. This is the cheaper solution; I'm guessing the centre key will eliminate the need for a backdrop light but I will have other scenes that make use of the backdrop light so I'm just thinking about continuity here. 2. Similar to above, but with 1 diffused key light at camera left for Subjects 2 and 3, and 1 diffused key light at camera right for Subject 1. The fill/back lights stay the same as with the above option, together with an additional light for the backdrop. This is the more expensive option, but I'm worried about the spill from the key lights onto the backdrop as the backdrop will be situated fairly close to the subjects. That and they might mess with the lighting from the backdrop light too. The obvious solution would be to get LED Panels with built-in barndoors; I'm just wondering if this would be the more reasonable route to take. The kit I'm looking to rent is a set of 3 Coolcam 1' x 1' Bi-Color LED Panels with barndoors, failing which I might get a set of 3 Litepanel Caliber 150W LED Fresnels or Aputure LS-mini20s. I might have the luxury of additional stands and flags but I'm trying to keep the set-up lean, and I'm already running on a tight budget as it is. Also, I'm a one-man Cam Op/Grip/Director/Producer with no extra pair of hands available (ridiculous I know). Any help would be appreciated!
  3. 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
  4. Hey All, I'm selling my Alexa Studio 4:3 w/ Optical and Digital Viewfinder and lots of extras. 1 Arri Alexa Studio 4:3 Camera System 1 Arri Optical Viewfinder 1 Arri Electronic Viewfinder + Cable + Adapter 1 Arri EVF Back Up Cable 1 Arri Viewfinder Mounting Bracket VMB 1 Arri VEB 1 Arri Side Handle 1 Arri Low Mode Support Set 1 Arri S4 Handheld Duel Set 1 Arri Handgrip on/off 1 Arri AB Gold - Mount Plate Upgrade 1 Arri V - Mount Plate 1 Arri Battery Cable 24V 1 Arri Standard PL Mount + Flange Customized to support older lenses with deep back elements 3 Sony SxS Card 32Gb 1 Flight Case 1 TV Logic 5.6" Monitor + Power Cable Price: $24,000.00 Camera #6037 Working Time: 4358h Camera is in NYC for inspection. Can be sent to LA. Pictures Available Upon Request. Send PM for details @ hunter.r.baker@gmail.com
  5. Hello there, Im curious if anyone has some recommendations for lighting a backdrop in a studio setting? (I'm still learning a great deal so forgive me if I label something incorrectly!) The set is a 10ft H x 20ft W room in which there are two windows on the far wall. I have looked into renting a backdrop from pacific studios and they have explained to me that this specific rental is a true translight backdrop which needs to be lit from behind. I can see how this would be beneficial as to provide a true luminance for the background. However, my independent research has led me to examples such as the following image album: http://imgur.com/a/pcznW These images seem to show a vinyl backdrop which is lit from the front. My question here is, what methods are suitable for front lit vinyl backdrops and how does that compare to a back lit translight? Would I use the same methods (I.E. Kinos from above) for the translight as the front lit vinyl? Thanks very much for the suggestions! The project I am working on is a short film produced and funded by myself where I can decide how much budget to allocate to various lights etc. Thanks!
  6. hi people, may be, it's little bit a noob question but i have to ask. Can anyone make a breakdown of this image and tell what kind of lighting equipment do i need? I have access to canon 7d mark II and sony 7s mark II as camera, and I will operate sololy. thanks barış
  7. Hi, I work at a university and we are in the process of building a new film studio. The studio is 2500 square feet with a rig fairly high up. On three walls there will be an infinity curve. I'm trying to find some advice and suggestions as to what you would put in there in terms of lighting please? I've not had to spec a studio this size before so any advice would be really helpful. So far all I've got on my list is 10 x 6K space lights. As a university we are on a bit of a budget so just looking for a basic studio set up as a start. Thanks in advance, Paul.
  8. Hi friends -- We're looking to shoot a dog commercial in studio, most likely with color seamless paper. This is the reference they gave us: Initial thoughts are an overhead 8x8 ultrabounce hit with two Arri M40's directly, flagged for direct spill onto the set. Maybe a few 4' Kinos for some fill and edge. Thoughts? Thanks! Jon
  9. Hi all, I have seen a few times a technique in promos where lights seem to move. I'm shooting a spot in the next few weeks we I'd like to use this technique. I've been looking everywhere and I can't seem to find anything about how this is achieved. An example is here: https://vimeo.com/176507317 look at the shots at 04.23-4.35 Any ideas what kind of set up i need to get this? I love how the lights moves around the subject. Thanks all!!!!
  10. 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?
  11. 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
  12. IBC 2015, Stand E55, Hall 11 CHATSWORTH, Calif. (Sept. 1, 2015) - Litepanels, a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, is excited to announce the launch of their new Brick and Brick One Light Kit. Now more robust, the Brick Bi-Color provides the perfect on-camera solution for on-the-go ENG cameramen, especially for those in wet conditions. Building on the legacy of the revolutionary MiniPlus, the new Brick Bi-Color's high CRI and TLCI surface mount LEDs with custom-designed optics provide superior color reproduction that delivers accurate color temperature adjustability. These tightly binned LEDs also produce a light output that is up to four times brighter than the original MiniPlus, resulting in a longer throw that effectively allows the Brick to illuminate a larger area. By having a comparable luminance output of 100W, it offers up to 1060 LUX (98 Footcandles) at 5ft (1.5M) while only drawing 16.5W. The Brick can also adapt to any situation by providing both daylight and tungsten lighting. And with its ultra-smooth dimming from 0-100%, it is not only flicker free at any frame rate or shutter angle, but the Brick also has no noticeable color shift throughout its entire range. Alan Ipakchian, product marketing manager for Litepanels, commented on the advancements behind Brick, "Incorporating the Brick with the latest in LED technology led to extremely positive preliminary feedback. Just like the MiniPlus, the Brick is designed to be a versatile on-camera LED, so I am eager to see what creative uses cameramen find for this product." With an IP 65 rating, the Litepanels Brick offers an innovative passive cooling system and a dust tight design with water protection, providing excellent durability in harsh weather. For ultimate convenience, Litepanels has also included a 3ft (0.9m) Power Tap cable to connect the Brick to cameras that support D-Tap connections. The Brick One Light Kit consists of a half white diffusion gel, a Manfrotto 244 Micro articulating arm, a 6ft (1.8 m) international power supply, a 60° Honeycomb frame, a soft diffusion frame, and a waterproof hard case with custom foam for safe transportation. Optional accessories for the Brick include an Anton/Bauer QRG-LG plate and an Anton/Bauer Power Tap extension. The Brick Bi-Color and Brick One Light Kit is available at the end of October and will be on display with other Litepanels LED lighting products at IBC, booth 11.E55.
  13. Hello everybody. It's my first post on lighting here on Cinematography.com I'm looking for a lighting kit to use with my Black magic Pocket Cam and 16mm lenses, that could be affordable, compact, and produce good results. Artificial Lighting is not my strong on Cinematography, I normally improvise with natural light, and have used an Arri Red kit before. Loved the results. I know there's a difference between fluorescent, incandescent and LED... though what would be a good choice in the case of using for small productions? When it comes to buy, its worth ask around for those who understand before go to BH Photo. Please let me know your suggestions. And thanks in advance. Thanks, Flavio
  14. Hi everybody, My name is Jorden, I'm from the Netherlands (so sorry for the bad english) and I'm new here on this forum. I'm very eager to learn some new things, so I hope I will get a chance to meet and talk to some of you guys. Anyway I have a question about lighting. So I'm working on a project where I have to do a couple of interviews. And I saw this video with Barrack Obama and I'm very impressed with there studio set up and overall look. So my question is: Does anybody have any experience with this type of set ups? I'm thinking that a big studio is required. So if anybody has some advise or a link with more information. I'm just wondering what kind of lamps they might be using. Thanks! Best regards, Jorden
  15. We are in the near stages of completing our photo/video studio near the Sullivan Square Orange Line T stop that we're planning to use as a rental space as well as for our business. We are looking for a photographer/videographer who would be interested in working out a deal to help us out with day to day operations and to man the reception desk (the reception desk as shown in the photos). We require very minimal amount of work, and while working at the desk, you may edit photos, videos or do as you more or less please. In exchange, we would provide you the use of the space to bring in your own clients and to use for your business and share some of our resources depending on the terms that we come up with. We have additional resources such as the RED Epic Dragon, Canon 1DX, 5D MK III, array of lenses, Mac Pro, and soon would be getting a recording booth with tons of audio gear. If you would like, if you acquire any customers for us, you would make a commission. Let us know if this is any interest to you, otherwise, feel free to contact us if you would like to rent out the space. We're currently taking applicants at the moment, and if you are interested, please fill out a form here: Applicants Form If you are interested in using the studio space, but is not interested in working as the Studio Manager, we are currently holding tours of the place in Mid-January: You can sign up for the event here: Sign up for Tours You can even book early: Book Studios Now
  16. 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.
  17. Hi everyone, I was asked to photograph a feature documentary film in a month time and I was wondering if I could get some advice as to what would be the best camera for the job. It's a documentary essentially filming two people having dinner in a studio set restaurant for the whole film, we are going for the cinematic approach rather an interview documentary. The fact that we're filming in a studio gives me plenty of control in lighting, which I'm going for an intimate, moody yet natural look. Our narrative was inffluenced by film My dinner with Andre yet we want to make it more cinematic. I'm going to go the Cooke S4 due to warmth in Skin tone but I've not decided yet which camera would work best. We're gong for a two camera set up due to the nature of this project to maximise coverage as the shoot is only 5 days. This film will get threatical release so that needs to be in consideration. I was looking the spect and sensor arri Amira, but being 2k I wasn't sure if it was the right camera for this. I appreciate any advice on the matter, Many thanks,
  18. Full disclosure: I work for Dracast in San Jose, CA. We started a 50% off clearance sale on some of our studio LED lighting for Black Friday and Cyber Monday. The promotion went so well that we're continuing it through December. You can find our discounted products here: http://dracast.com/december-specials.html Happy Holidays!
  19. hi. i've been searching threads about techniques, setups, external links and advices on shooting cars on studio, but didn't find anything. how to be fast? what's better: move the camera, the car or the lights? what's a basic setup? :)
×
×
  • Create New...