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HMI equivelent to my tugsten kit
I’m am not a Lighting Desinger and I don’t pretent to be. I have gotten pretty good at lighting indoor Interview set ups. But we now find our selfs looking at doing a job that involves shooting against a large Glass windows in a lobby of a large auditoriom. I know we will need to go HMI so we can use the widows as the back drop. But from what I understand the wattage that HMI output is different from Tugsten. SO i was hopping someone could give me equivalents to what i am using. I am aware that becasue we are shooting with the window we will need more light to overcome the sun, but i have no idea where to start.
My current KEY light is 1x 500w Tota with a softbox
1x Relector on stand for Fill
2x 250W Omni with barndoors for Backlight and Background light
any help would be much appreciated.
ThanksMike Jeffs
Video Coordinator
BYU-Idaho -
10 Replies
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Hi Mike,
You are correct that the scene you describe screams for the use of HMI lighting.
Because I assume that you neither have a generator or are capable of tieing in to a fuse box, you are limited by the capacity of 20 amp household service, perhaps two (or more) circuits cold be found in close proximity to your set.
The largest unit that you can plug in to a household circuit is a 1800 watt ARRIMAX. I’d suggest you rent two of these; one for a key and the other as fill. You will not need a background light presumably because the exterior through the window is sufficiently lit.
You’ll have to stage the shot in such a way as to eliminate the reflection of the light in the window (which in this case acts as a mirror). You can do this by aiming at a diagonal towards the window and using a large black flag (like a 4×4′ Floppy) to obscure the other light in the mirror.
If you can’t locate two ARRIMAX lights, next best choice is 1200w PARS or 800w JOKERS.
Good luck,
JS
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You are correct about the lack of generators so yes we will be forced to use 20amp circuts. Thank you for advice I will look into these lights.
You say I don’t need a background light, which I agree with, but do you also mean I don’t need a Backlight on the talent? If I do any thoughts on that?
Mike Jeffs
Video Coordinator
BYU-Idaho -
As far as a backlight, you should consider the direction of the light as seen outside the window. If it’s back-lit outside (that is the sun is shining toward your set) you could consider adding a back-light to simulate the effect as if it was reaching into the room; perhaps a 400 or 800 Joker on a boom arm, otherwise the brightness and color of the exterior will surely provide enough separation. You just don’t want the backlight to look like it’s coming from a light; violating the direction portrayed by the real sun in the background would surely do this.
JS
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Also, you might be wise to bring some large ND or scrim to knock down the amount of light coming through the windows, if possible, so you might have the option to tone down your light on the talent. Be prepared.
Although HMI is the way to go, the shot, although more difficult, is also possible with the right amount of ND and CTO on the window, still using tungsten.
Tom Nelson
Videographer/Editor
Essex Television Group -
Sorry a bit off topic.. but I have found with this set up.. a tight- ish framed shot.. even with the exposures set right will always look a bit fake.. could just be the unconscious .. everyone has seen the News Room type shot which is most often green screen.. personally I think you need to have one shot framed wide enough to establish your location,as being real.. and sometimes thats the better shot anyway..
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[Tom Nelson] “Also, you might be wise to bring some large ND or scrim to knock down the amount of light coming through the windows, if possible, so you might have the option to tone down your light on the talent. Be prepared.”
This won’t be techincally feasable as the lobby we are shooting in has floor to ceiling windows on both sides of the wall, aprox 40′ height with a at least 60′ combine width. We will be shooting on the 3 floor of the lobby off a balcony like section.
I couldn’t even stab a guess at what the cost of that much ND would be let alone how in the world i would rig it up. maybe it really isn’t that hard i don’t know.
But i have use ND on windows when shooting in smaller rooms with windows.
Mike Jeffs
Video Coordinator
BYU-Idaho -
Related question:
I shoot a lot of interviews in real-world settings, e.g. in a park, under the dappled shade of a tree. The problem, often, is dealing with a blow-out background.
I currently use reflectors, but I’d like to be able to boost the light on the face and have more control.
Being able to power off a 30v battery belt, or even a vehicle’s charge plug, would be a real plus.
Any suggestions? I was looking at the 200 watt Joker Bug, but I wonder whether it has enough punch.
Bob C
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Bob… the folks at Aadyntech claim to have a new LED instrument that has the same firepower and punch as a Joker-Bug800… and it can run off +/-30v DC so two bricks can power it.
If it works as well as they brag, it should do what you want it to… I’ve often used an 800 Joker for filling in exteriors in park settings, etc. I’m not sure if that 200 would do much for you… outside in those situations I’ve always found the 800 to be a minimum, and prefer a 1200w HMI if I can power it.
I’ve yet to see this LED instrument in action with my own eyeballs though, nor talked with anyone who has used it in a real-world situation… it’s brand new.
Maybe worth a look.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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Very interesting – I’ll try to get a demo of it.
Thanks Todd!
Bob C
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Hi, Jeff
All good advice here, but let me ask one rhetorical question: Do you have any control over the length of the interview you’re shooting, and when you record? Light quality outside the window in the evening or morning is much nicer for your shot than mid-day, but it changes color temp and intensity rapidly. If you do have an evening or early morning record time, shoot your establishing shot first; and then close-ups for the bulk of the interview…which shows less background “sky”…afterwards, as it gets brighter or darker outside. Consider also some “set elements” to break up your CU shot backgrounds; plants are the easiest to use to help with this.
Good luck!
Bill
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