[Dennis Size]

Gee Mark, I thought you WERE on Ross’ payroll! I’ve never heard anyone extoll the virtues of his products as much as you!

I have stopped voicing my opinion about Lowel gear, but I feel compelled to point out that the instrumentation itself is not necessarily what determines the look of the end product. The important thing is how any gear is used — and the skill of the lighting designer, shooter, DP, using the gear.

DS

[Dennis Size]

Tip #1:
Don’t worry about HD — or “good quality” — just for YOU TUBE or FACEBOOK.

[Dennis Size]

Aren’t there fluorescent fixtures overhead in this classroom?
Then why would you want to bounce light off the ceiling? ….. where there are already existing soft light sources?

You’re obsessing WAAAYYYYY too much about this project. Stop beating yourself up and start to visualize it withOUT using any additional fixtures. Then supplement where you need to. You’ll find you won’t need much — as long as you use the “Key” lighting that God is giving you through the windows.

DS

[Dennis Size]

You’ll be fine, although your fluoros are easy enough to color correct.
The only concern will be color corruption on your talent. Make sure your green screen fluoro wash isn’t lighting them. As it is, the 3000K talent lighting will be polluting the color of the green screen.

DS

[Dennis Size]

Re: Grip / Electrician?
by Jolly Jackson on Jan 4, 2010 at 5:07:47 pm

@Dennis Size
I am currently in N.Y.C. Do you think that is an issue?

It’s less of an issue because there’s more work available (unfortunately just not as much during this current economic climate).

At THE LIGHTING DESIGN GROUP we currently have a free-lance base of over 100 gaffers, electricians, grips, programmers, etc. who we routinely job in on our projects — but there’s always room for one more.
Send a letter of interest and your resume to me at: Size@ldg.com.
I’ll set up some sort of interview with our crewing co-ordinator, and we’ll see what develops.
As we’re currently very busy marshalling our forces to do all the studio and venue lighting for the OLYMPICS (along with a dozen or so other projects) it might take a little time to set up an interview — so be patient.

DS

[Dennis Size]

I missed something in this thread….. but you should defintely not bounce tota lights off the ceiling. You shouldn’t even use them.
I will refrain from saying what I really think of totas. Suffice it to say all they will do is mess up your color temperature, needlessly raise the room temperature (they’re stupidly hot); and waste money.
Use your overhead fluoros — but turn off half of them if you can. Keep your cameras positioned at the windows (with the operators backs to daylight). Shoot into the room with everyone facing the windows. Fill, as needed, with Lite Panels.

DS

[Dennis Size]

Again, it will not be a problem at all …. as long as you don’t put your backlight at the angle of incidence to the camera (which I doubt you’d be doing anyway as you’d be shooting down on your anchor too much).
Don’t obsess over it. You’ll be fine. Worst case, you’ll end up moving the backlight a bit.

I just finished lighting DICK CLARK’s ROCKIN NEW YEAR’s EVE last week. During the interior studio scenes Dick — along with Ryan Seacrest — sat/stood behind a 5′ x 7′ glass topped table. I had several camera positions (including a moving jib) and we never saw any reflections from the 20 or so lights hanging over them.

DS

[Dennis Size]

Hmmm… a vendor is sending a lighting technician to tell you what you need to buy from THEIR store?
Let us know what you end up with.

Remember also …with Greenscreen …. less is better than more.

DS

[Dennis Size]

If you want to use KINO FLO fluorescents — which would be the easiest and best way to go — you can use 3 single tube x 8′-0″ Kino Flos (one for each side); or 6 single tube x 4′-0″ Kino Flos (two for each side).
If you don’t have the money. You could also use about twelve evenly spaced 10″ tungsten scoops or single cell cyc lights.

DS

[Dennis Size]

Using glass on a set will always cause problems.
Having done many of the major TV Network glass enclosed studios, I’ve learned to pay strict attention to the rule: “the angle of incidence equals the angle of reflection”.

If you pay very close attention to where your cameras are position in relation to where you position your lights then you will be fine ….. and everyone will wonder, “how’d he do that?”. 🙂

DS