Is this a good lighting kit?

[Chance Snider]

I’m shooting video, with a sony HDV camera. Also another question I can also get these with that kit: https://www.pclightingsystems.com/dayflo-pro/fixtures/4000/ would these help the kit be more useful?

[Peter Rummel]

I’m not sure how useful that light would be. You say your project would be mostly night interiors. That thing would pump a LOT of light into a room, and it would look totally unnatural. Outdoors, it would provide some light, but , during the day, reflectors are cheaper, probably easier to rig, provide fill that’s the same color as the daylight, and are greener (in terms of energy usage, not color…). You might find a use for it in a night exterior.

Before you sink serious $$ into a pre-fab lighting kit, let’s think about some less expensive and DIY solutions.

Night interiors are supposed to have a little dark in them. If the room is flooded with light it looks unnatural. Table, floor, and wall lamps that you see in the shot (“practicals”) would be turned on (and maybe dimmed), highlighting the area around them with a warm, pleasing light. Small flourescents could work here, but I’d recommend lighting with china balls (check out filmtools.com). They’re cheap, soft, warm, and give out a beautiful light. Get a roll of black wrap to flag the lights – again, we’re not trying to flood the room. And get some good light stands – c-stands would be perfect, but there are cheaper alternatives. A fresnel or two could provide back lights and background lights, if you wish. And if you really want to go to town, you could place a larger fresnel (say 1000w) with a bluish gel on it outside the window to give an artificial “moonlight”.

I should say a word here about safety. You’re dealing here with electricity, hot lights, top heavy stands, cables all over the place… it’s dangerous. China balls are cheap and effective, but they’re highly flammable. It’s your responsibility to take your time and do things right. Make sure your lights are rigged so they won’t set anything on fire. Don’t overload circuits. Have a fire extinguisher handy. Use power cables that are rated for their load. Use sandbags on any stand that would even think about tipping over. Route your cables so that no one will trip. You’re NEVER too busy to do things safely.

With daylight exteriors I’d recommend using reflectors and overheads. An overhead is a frame with a fabric that would create a diffuse shade for your actors. Obviously an overhead wouldn’t work if the action is moving around, but for a stationary scene it can give a great look. Store-bought frames are metal, but wood can work fine. Check out a fabric store for fabrics – I got a veil material for an 8 x 8 frame for about $12 – it knocks the light down about 1/4 stop and is perfect for taking a bit of the nastiness off of direct sun.

Reflectors are generally white or metallic. White foam core works well. For metallic you could use aluminum foil, crumpled then uncrumpled and taped to cardboard or foam core or what have you. You could even use a sheet of foam insulation from the Depot – some of them have a dull metallic finish.

Really good stands and sandbags are necessary for reflectors and overheads. Be careful of the wind.

Night exteriors are a problem. After all, what’s the defining quality of night? … it’s dark! The traditional method is to use a blue back light to suggest moon light, and a warmish key. If you’re careful picking your setting, it could have lights in the background (buildings, streetlights, cars) that could give it some depth. (If your scene is set in the woods, you’re on your own!) If you’re going to rent an HMI, this would probably be the time (for the “moonlight”).

Gels, c-stands, sandbags, cables, diffusion, black wrap, reflectors – these are the types of items any project would use. If I were you these are what I’d invest in before I bought any “kit”. Then add professional lights carefully, as needed.

[Chance Snider]

Awesome thanks! Ok so to make these easier let me list some things since I don’t know anything about lighting or it’s parts. I have someone who is experianced in lighting and will do the job.

I have an Sony HDV HDR-FX 1
I will be shooting inside and outside night and day.
Places will be houses mostly for interior but will also include a night club, hotel and maybe a store.

What are the different kinds of lighting kits I would need to have this come out really nice? I apreciate all the feedback guys thanks!

[Peter Rummel]

Putting together a lighting package to give you all the optimum tools for any situation would be hugely expensive. The best you can hope for are versatile tools that can adapt to any situation. Grip gear (c-stands, clamps, reflectors, flags, etc.) is used on any project. An Arri kit also covers a lot of bases. Some things like china balls are so cheap and so useful that there’s no reason not to have a couple. Flourescents are less versatile, but they do some things very well (see below).

It’s hard to give specific recommendations for lighting a scene. Each space is different. Each situation is different. What you like may not be what I like – it is supposed to be an art, after all. So, given that I have no idea what the locations look like, or the look you’re going for, here are some random thoughts:

Interior, day – Flourescents with daylight lamps would work well here. I’ve also had good luck using a large (6 x 6) metallic reflector and bouncing sunlight in through a window for a key.

Interior, night – Low key. China balls and fresnels, maybe.

Exterior, day – Reflectors and overheads.

Exterior, night – Large fresnel with a blue gel (or an HMI) for the “moonlight” gag, your favorite source (fresnel, china ball, flourescent, soft box) for a key.

Night club – What you have to do for lighting here totally depends on the ambient lighting. Let’s assume that it already looks pretty cool, because you really aren’t going to have enough resources to light an entire club. I’m thinking fresnels and china balls would work well here.

Hotel – Lobby or room? Lots of movement and action, or static? For general lighting in a lobby, flourescents would work well.

Store – I’m guessing that the store is lit by flourescents? One thing cinema flourescents do really well is match up with flourescent lighting.

So we have a large number of lights here. Probably outside of your budget, so some cuts will have to be made. Go for the most versatile lights. Be sure to have c-stands and flags. You say you have someone to do the lighting – ask him or her what kind of tools are needed. Do some tests. Don’t be afraid to rent – you can get professional lights and gear that way.

[Dennis Size]

Since you have someone experienced to do the lighting, trust him to order what he will need.
If a producer provided me with the “comprehensive” production details you’ve enumerated, I would order a 1 or 2 ton grip truck (minimum) with a standard tungsten package (complete with battery operated 1’x 1′ LED light panels), plus a few Kino-Flo Diva 400’s with various flavors of color temperature lamps. I would also order a small HMI package.
But that would be overly cautious, wanting-to-be-ready-for-anything me.
DS

[Richard Herd]

Even with all that equipment, if the contrast ratio cannot be controlled, then it’s basically a waste of money and effort. Hence, my insistence on a light meter.

[Dennis Size]

I’m reminded of Obi Wan’s advice to Luke Skywalker in STAR WARS, as he flew into the Death Star with no functional gauges on his instrument panel …”Let the force be with you Luke!”

Although I know many of my colleagues rely heavily on a light meter to finalize their work, and others who use a light meter merely as a guide, I also know many don’t use a meter.
I personally haven’t used one in years. As a matter of fact when I last actually needed one to measure something (and I can’t remember how long ago that was) I had to borrow one, since mine was lost.

I would be intrigued to know how many of my colleagues — and devoted readers — at CREATIVE COW really feel the need to have a light meter hanging around their neck to do their job.

DS

P.S. So that you don’t think I’m a total buffoon, I’ll admit that I’ve probably owned at least 5 meters over the years. I just don’t use them.

[Michael Palmer]

If someone was attempting to shoot a feature (with Film) 20 years ago they would need a light meter. Today shooting a video feature you don’t, however you really need a good field monitor that is properly setup.

I do agree with using a light meter as much as possible (with film or video) as it will force the DP to think about the picture he is painting, and help him in choosing the right lamp from within his lighting package for the job. I prefer a spot meter reading the reflective values. I still use my meters every job.

Good Luck
Michael Palmer

[Richard Herd]

Let me admit to being a bit of a philosopher. I have to note the difference between “use” and “know.” Before Luke could “use” the force Mr Kenobi explained the force.

I reckon a light meter is to a photographer as a tape measure is to a carpenter wood worker.

[Sebastian Ballek]

“I should say a word here about safety. You’re dealing here with electricity, hot lights, top heavy stands, cables all over the place… it’s dangerous. China balls are cheap and effective, but they’re highly flammable. It’s your responsibility to take your time and do things right. Make sure your lights are rigged so they won’t set anything on fire. Don’t overload circuits. Have a fire extinguisher handy. Use power cables that are rated for their load. Use sandbags on any stand that would even think about tipping over. Route your cables so that no one will trip. You’re NEVER too busy to do things safely.”

Haha, this rememberd me a burning 300W Halogen lamp inside a freezer in my photography class. The gases on the cooling tank got warm and begun to burn inside, when I opened the door there was a lot of hughe flames. Was my first time dealing with a fire extinguisher on the set. (Thanxs there was one like 10 feets around the corner.)
That was the end of the exercise for that day, hehe.