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Gelling Par 64's


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hey guys,

 

i'm planning on using par 64s to create strong shafts of light coming through a row of windows, imitating moonlight. The action will be backlit entirely by this, some fill being provided by redish alarm lights in the foreground (practicals). I have never used par 64s before (but they make sense in terms of budget), so I'm unsure regarding the following issues:

 

- in order to give the pars a blueish tint, i will have to gel them with some degree of ctb. how much light will i loose doing this / is the loss as significant as with tungsten lights?

 

- i want my light shafts to be rather large, filling whole windows. i'm unsure whether i would need to go with a nsp in order to provide the necessary beam structure and if this will cover an area too small. will i be ok with a wide flood bulb or will it be impossible to get a strong shaft out of this? the interior will be hazed, of course.

 

thanks for your help.

 

best,

markus

Edited by Markus Haken
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one more thing (editing the post doesn't seem to work):

 

- do your recommend using an array of 1k pars per window in order to provide decent illumination of the light shafts, or would one per window (there are about 6 in total) provide (assuming they are the only light source + diffusion through haze)? i guess this also comes down to which bulb would be the right choice. i'm also asking this because i'm considering using the pars on scenes set in daylight, to provide daylight shafts trough windows. obviously, there would be a lot of light loss due to the strong gelling, the pars having a native temp of 3200k. right? i fear single 1ks won't be enough the get a shaft of light through the window at afternoon light. then again, i have no experience in how pars output their light :)

 

thanks for your help.

 

best,

markus

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  • 1 month later...

Stuart, yes i mean par cans. And thank you for clarifying regarding the CTB light loss.

 

Zachary, I will be shooting on Red Epic, rating it at 800ISO. I'm trying to achieve a stop of 2.8 on the key (being the backlight from the par's in this case).

I have to add, the row of windows will be covered to a certain extent by wooden boards. please see attached image of the row of windows. i'd say about 60-70% of each single window will be covered with wood.

 

 

do you think I will get proper shafts using a 1k Par 64 on each of the windows?

post-59202-0-40311700-1358326805_thumb.jpg

Edited by Markus Haken
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That'll be hard. Knowing that RED cameras are balanced to daylight so blue channel tends to be more grainy in my opinion. This sometime looks ok.

using CTB is good idea remember that 1/2CTB is reducing light level at 1 f-stop. Adding 1/8 or 1/4 of plus green might be interesting if you'll like it.

Try to get PAR 64 not PAR 64-SPOT it'll make more sense since you are going for soft moonlight look.

Bouncing PARs from big foam from the inside for close ups would be something that I would go for.

 

Hope I made myself clear and helpful.

cheers. Ted.

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Forgot to mention about shafts! Remember that light beams are visible better and worse in condition to looking angle.

1K per window might be not enough not in term of amount of light but in term of light covering wood placed on windows.

PAR 64 looks like SPOT spot source even if are flooded fixture (not PAR 64-SPOT) and that might be a problem for you.

If you want to diffuse the light coming from the windows you also need more power coming from the diffusion that means more than 1K per window...

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