[Dennis Size]

You’re only using 2 of these lights …for a 9′-0″ greenscreen wall ??
You should have at least 3.

What are you using on your subject?

DS

[Dennis Size]

$20 dollars a sheet??? !!!!!
Buy it somewhere else. Your vendor is robbing you. Color media shouldn’t cost more than $8.00/per 24″ sheet.
Once you settle in on the exact color correction that works best, buy a junior roll (for about $75.00). This colored mylar will fade with use/time, and you’ll need to replace it.

As for attaching the color to your fixture — be creative (but good old fashioned gaffers tape, or black tak, is my method of choice).

DS

[Dennis Size]

You can always make a light that’s too bright less intense (via dimmer, scrims, neutral density, or even backing it off). It’s tough to make it brighter when you really need it.
The real issue is how bright your greenscreen is and what else you’re using to light your subject — hopefully you have several more lights in this studio.
300w or less won’t provide the necessary output. My gut tells me the 750 is the correct choice, but you could get away with a 500w. I’m guessing the 500w should provide about 60fc on your subject.
Everyone has their opinions about which brand of lamp is better than the other. I never felt it mattered.

DS

P.S. with a room 14 feet you can’t get your light more than 6 feet from the subject?

[Dennis Size]

Why not just use color correction color media?

Here are 3 suggestions:

1) LEE Filters #244 “Lee Plus Green”

2) LEE Filters #243 “Lee Fluorescent 3600K”

or the “very bold”

3) Rosco #4460 “60 green”

[Dennis Size]

JONNY……
Have you found an “advisor” to consult with in the preparation of the budget for your new facility?

Have you and Michael been able to hook up to provide you with the info necessary for your budget proposal?

If not let me know, I will recommend someone from our company whom we use in Southern California.

DS

[Dennis Size]

Actually Michael …. I’m in New York City
— the Hudson Bay Area! 🙂

DS

[Dennis Size]

If you try and cost this out without involving profesional consultants in the various disciplines involved you will most assuredly fail. Regarding lighting specifically, you’re worried about lighting instrumentation, yet I’m guessing you haven’t even contacted an EC (Electrical Contractor) to determine how much power you have available….. and how much more can be brought in. You can’t expect the cart to move properly if you put it in front of the horse.
You plan on installing a lighting grid, yet I’m guessing you haven’t considered a structural engineer — or at least a qualified rigger –to determine if the ceiling can sustain the weight loads necessary to suspend lights, speakers, etc. above an audience. There are countless things to consider, and without bringing in someone with experience in systems and facilities you are setting yourself up for a fall.
DS

P.S. The Great White incident refers to a club in New England (if I remember correctly) that burned down a few years ago due to improperly planned lighting and pyrotechniques — which set fire to poorly installed soundproofing. The space went up in minutes ….killing many people.

[Dennis Size]

If walter is not available call:

Bruce Colgate
Alliance Video and Post
https://www.alliancevideoandpost.com/
203-325-1190

Unfortunately I suspect your budget won’t allow for quality lighting as provided by THE LIGHTING DESIGN GROUP (https://www.ldg.com), but when your productions grow feel free to call us.

DS

[Dennis Size]

Well Caitlin ….. based on the latest post from Dan Brockett, it appears you’d be foolish not to give Walter Graff a call.

DS

[Dennis Size]

“Rosco has a new pola system for windows called Rosco View. The gel polarizes the light coming in the windows, and you apply their pola filter to the front of the lens.”

I hate to quibble semantics, but that’s what we often do here! 🙂

I’ve used polarizing filters (one on window/one rotating on camera) for over a decade.
The gimmick is great but it’s “tragic flaw” is that it does nothing for the light coming IN the windows. It allows you to control the light outside the window as perceived by the camera — not the actual light. Unfortunately if God is focusing 2000fc of sunlight through your windows the polarizing filters do nothing to control the “burn out” you will be trying to control. Only nd, net, or scrim applied to the windows will help you out in controlling the exterior source polluting your lighting design — and rendering your subject “nuclear”!.

DS