Dennis Size
Forum Replies Created
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That’s an EXCELLENT post Rick….with solid advice on CYC WALL construction.
DS
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Congratulations Tim. You’ve created a hell of a lot of banter with your simple little post (which I suppose is the purpose of COW and these FORUMS).
You’ll have to forgive those of us who sometimes tire of the same old elementary questions (especially when they’ve been asnwered more than once over the past few years this LIGHTING FORUM has been in existance).
Although a lot of great advise was shared — much of it obviously beyond your experience level — no one really answered your question.
Regarding the ROSCO SCRIM #270, the answer is yes. I’ve used it extensively for a number of light reduction aplications, and it will definitely solve the problem of your light intensity — but not your color temperature difference of daylight exterior to your interior tungsten fixtures (which you apparently are locked into using).
You never said if you had access to the outside of these windows which would be the ideal place to put the ROSCO scrim against. You also never said what the background scenery was — and if it was worth even seeing — otherwise appropriately designed kitchen curtains on the windows would be an obviously suggestion.
Buy a color correction gel that solves both your problems. GAM and ROSCO (and I believe LEE) make a combination CTO/.6ND color media that will be your best solution. It comes in large rolls. There’s also a CTO/.3ND. Follow Mark Suszko’s excellent instructions for applying it to the windows. If you have exterior access you can save time and just tape it tightly to the window frame.
The use of the CTO would negate the need to color correct your lights — which should still be diffused.
I would still recommend curtains (perhaps even shears) just for a more realistic design sensibility (not to mention reflection control).
If the sun intensity is way too bright use your ROSCO SCRIM in addition to the CTO/.6ND.
Have fun….enjoy the food.
DS -
I sure hope Drew is able to utlilize all this incredibly fabulous advice that he’s been given — especially on his $100.00 lighting budget.
I will resist trying to DP this project; but if I were, I would go with gusto to acheive “film noir” and plan the overall look to be black & white.By the way, a peculiar pet peeve of mine is when people are “filming” a short “film”….. but using the medium of video.
DS
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Check out the site for MINI-LITE PANELS (LED’s) … they’re more efficient anyway.
DS
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Contact Vari*Lite about their exterior weatherproof luminaires.
They will have a few excellent options.
Martin Lighting will also.
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Please explain “I’m just the lighting coordinator.”.
It appears there’s no money to rent the proper lighting fixtures, or even buy color correction media or diffusion, let alone bring in an LD or gaffer. Yet, there is a “lighting coordinator”? -
The standard method …which also happens to be the cheapest and probably the safest …. is to build a “goalpost”.
Erect two upright booms at whatever height your ceiling will allow. Since you gave no measurements I would suggest 10′-0″ to 12′- 0″ to allow plenty of clearance under the Parabeam. A boom is basically an 1 1/2″ schedule 40 black iron threaded pipe with a 50 pound iron base — upon which you could add sandbags for stability if you’re the nervous type.
Mount another 10′-0″ schedule 40 pipe horizontally, at whatever height works for you, using chesboros or any other pipe to pipe hardware(of the correct diameter, obviously). Hang your fixture from the cross pipe by whatever means you choose.Do not forget to use safeties.
DS
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Yes……Rosebrand may even sell the same product. If not take a sample to assure a match.
DS -
Sometimes I read these posts and the ensuing dialogue and I have to just sake my head … then hold myself back from responding.
In this case I will “hold my tongue” but offer a word of advice.
Although “paint is paint”, paint is NOT fabric. Fabric receives and relects light VERRRYYYY differently from paint. Not only that, the various fabrics available for greenscreen work receive and reflect light very differently. That EEFX foam fabric really absorbs light while a standard cotton duck fabric doesn’t. Plus it reflects light differently. If you are going to mix your surfaces be very careful with your lighting, so that you “seamlessly” blend the line between your fabric and your paint.
Conventional wisdom also indicates that you should use your fabric as a backdrop and paint your floor …. and props (That’s the way we do all greenscreen work for ELMO’s WORLD on SESAME STREET.)By the way, considering you’re in NJ, you could just as easily drive into NYC and buy the foam greenscreen fabric you need from ROSEBRAND.
DS
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Wow am I that old? Perhaps it’s time to change that “youthful” photo of me from the 50’s that has adorned the mast of the COW LIGHTING DESIGN FORUM for the past decade.
Sorry to create any confusion, I — and many of our colleagues — have used the term “BROWNIE” as a humorously pejorative reference for video cameras for so many years I just assumed everyone knew what I was talking about.
Brownie was the name of a long-running and extremely popular series of simple and inexpensive cameras introduced in 1900 by Kodak. It’s use lasted into the 60’s (…. and I think I may still have one in my mom’s attic!).
The Brownie popularized low-cost photography and introduced the concept of the snapshot. The first Brownie was a very basic cardboard box camera with a simple meniscus lens that took 2¼-inch square pictures on 117 rollfilm. With its simple controls — and initial price of $1 — it made photography accessible to everyone.
Every technology we use to communicate with pictures – photojournalism, motion pictures, television, satelite imagery, the internet –can trace it’s ancestry back to that little black box.Thank you for appreciating the little pearls of wisdom I toss into the FORUM every now and then. Most people confuse my facetious and satirical approach as the ranting of a loony old fart.
DS