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  1. Whilst one might purchase a roll of 250D and 200T and test this out as I would, as it happens, I have been wrung out of all my money the past three months. So, rather than try to self hypothesize in my head, I may as well put the proverbial nail in the coffin in an attempt to suppress my ADHD and OCD. Which leads me to my questions... A) Color-wise, what can one expect when using a tungsten balanced stock with an 85 or 85B filter, rather than simply daylight stock aside from the two-third stop of light? B) To further elaborate on question A, normally how significant is this color ch
  2. So many movies were shot on Tungsten film during the 1970s yet most of them take place outside, so why not use daylight balanced film?
  3. I'm in the process of putting together a lighting style for an upcoming horror feature that I am shooting. Will we be on the Alexa Classic. Question: When shooting interiors, are there perks to using a blue-gelled Maxi Brute rather than an HMI when it comes to simulating daylight? There will be tungsten practicals in the shot as well.
  4. Hi, We are two technicians working in the film industry in France (a grip guy and a gaffer) and we just discovered this very interesting forum. We particularly noticed that gaffers and cinematographers were asking questions about light output and what aperture is obtained at a certain distance. It happens that with the help of two IT engineers we developed an iOS app responding to this question about 2 years ago. First and for all, we’re not going to post messages everywhere on this forum to sell our app nor are we going to pollute your threads to gain in visibility. We just think s
  5. The owner of Commons Productions, Spencer Commons, is retiring. He’s been in the lighting business for 30+ years. I’ve learned a bunch from him about being a gaffer. He’s now selling his grip and lighting equipment - c-stands, kino flo, tungsten, LED, hmi, flags, electric ... you name it, he’s probably got it. Prices are good. http://www.commonsproductions.com
  6. 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 regar
  7. 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 g
  8. 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.
  9. 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!
  10. 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!!!
  11. 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
  12. 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. "
  13. Ebay Listing - https://www.ebay.co.uk/i/302662389272?rt=nc
  14. 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
  15. 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
  16. http://www.ebay.co.uk/itm/Dedolight-5Ft-Panaura-Daylight-Tungsten-Kit-Eggcrate-/302468506880?hash=item466c872500:g:PVsAAOSwkWNZobb3
  17. 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,
  18. 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 t
  19. 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
  20. 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
  21. 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 mi
  22. 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
  23. 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
  24. 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 o
  25. FOR SALE - http://www.ebay.co.uk/itm/Dedoflex-Octodome-5ft-DLH1000S-Tungsten-Soft-Light-Head-/301989158959?
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