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Kino Vs. Arri: Need to the footage to pop
Hello, my name is Jeff and will be directing a project next week in my studio. I am primarily a photographer but I am also making a transition to directing.
I am going to be shooting a Print and Motion campaign next Tuesday and am hoping to get some feedback before my project begins. The goal of the project is to have both campaigns match in vibe/tone.
I am going to be shooting against two bright backdrops that will need to pop in the footage. The client is going for the ‘Target Ad’s’ look with this.
I have all the pro lighting I need to stills but when it comes to constant light, I am renting everything.
I already have an Arri Kit (1-1K, 2-650’s, 1-250 or 350?) on hold but am considering a 2K to shoot through an 8×8 silk for my main to mimic one of my 7FT Octabanks that I shoot stills with. Then use the additional lights to rim the subjects and highlight the background.
My question is am I approaching this correctly. Should I consider going with Kino’s or even fusing the Arri kit and some Kinos together.
I love the look of Kinos but am unsure if they will be powerful enough.
The main objective for me is to make sure this campaign does not have a ‘video’ look in the end. I want my stills (Print Campaign) and motion (commercial) to match.
I am shooting with the Canon 5D Mark II if that matters.
Am I crazy to mix Kino’s and HMI’s? Will that be impossible to match color temperature wise? And I honestly don’t not mind a bit of a mix of color temperature. We do that with my photography all the time.
Thank you for your help. I greatly appreciate it.
Jeff Newton
https://www.jeffnewton.com -
5 Replies
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I believe you should hire a Gaffer and bring him/her into the studio for a tech scout to see what is possible and they can help you order the right lighting gear for the job.
Good Luck
Michael Palmer -
I will certainly second Michael’s suggestion: hire a gaffer. You have developed your eye, and you know how to make what you want happen with still equipment. You are going out on a limb to try to do this the first time with video all by yourself.
You mention HMIs late in your post, but none are listed in your gear. Yes, you can mix daylight kinos with HMIs. You can also mix in tungsten kninos if you want a warm (very warm) section. Kinos have a short throw and work great for some situations, not for others.
I suspect a 5K through opal on the doors and 8×8 1/2 grid cloth out in front will come far closer to the look you are used to with your Octagon than a 2 K through silk.
But, if at all possible, find an experienced, creative, thoughtful, listening gaffer. Some of those guys are extraordinary and have made my day again and again and again. Once in a while I have had to work with some stiff head, and that was a misery. So, ask around, and at least talk to the guy first on the phone to see if he’s receptive to your ideas or just wants to do it his way for his look. That’s the kind of gaffer you do not want….
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Thank you guys, I will definitely look into a gaffer first thing tomorrow morning. I agree that with the scope of this project I want it to look great. If that is what it takes…
The nice thing is that I have two of my main assistants booked the day in advance for a pre light day so we’ll have all of this worked out before the client comes on set the next day.
One week to work all of this out. I appreciate the help.
Jeff.
Jeff Newton
https://www.jeffnewton.com -
Excellent advice in this thread.
Renting the piano is NOT the point of getting quality music.
Securing the services of a great Piano PLAYER is.
You need the piano player.
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a few differences jumping from stills to motion:
— latitude: assuming you’re using the Canon for video, you just don’t have as many f/stops to work with
— shutter: you’re stuck at 1/48 or 1/60
— color correction: a totally different beast than stills! I know it’s not a lighting tutorial, but this is worth knowing going in: https://library.creativecow.net/articles/maschwitz_stu/red-giant-blockbuster-film-look.php
After you wrap, you’ll go into post, which will present a few problems, so besides a gaffer, does your editor have a clear plan scheduled to?
The lighting kit you mention just isn’t enough. I would want one of those kits for each actor in the scene, not to mention needing something more for the set.
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