[John Sharaf]

Hi Angelo,

I’ve researched the Briese light(s) in the past and been on sets where they were in use, and Rick is correct, there are many sizes and versions for different purposes. One thing to consider is if your set is large enough to even rig and use such a behemoth.

Stylistically the quality of the light can be reproduced for the most part by some of the means you mention, others have mentioned and even more methods, but the reflection in eyeglass, mirrors and/or other shinny surfaces cannot be recreated by anything else; perhaps this is why your client is specifying the light. If this is not the reason they should have their head(s) examined, especially considering the limited budget constraints that apparently prevent you from renting a $75/day doorway dolly! Briese’s are really only available in NYC, so you’ll incur a weeks rental and freight charges too, not a pittance, which you’ve already discovered.

In terms of specialized lights, a Gekko George Ringlight (which is also difficult to source) creates a very stylized look in the eye, but at a much lower cost and less freight charge.

This contrivance of producers and directors (often with no, or dangerously little technical competence) choosing the camera system. or in this case the key light before they hire the DP (or gaffer) has gotten completely out of control. As a DP I’m very cautious of doing or saying anything that could vaguely be considered to usurp the director’s job, there should be some reciprocity! Presumably that’s why they’re hiring you (or me) in the first place.

As a further example of this trend, I have a job this week that the client has required a 24-290 Optimo, to which I said, no problem I have one and will gladly upcharge them to add it to the rental. They are however insisting that they get the “very same” lens they used last time. There is no basis in technical reality to use one 12X Optimo over another, unless one fails at prep.

Our jobs are hard enough to do, so we must take a stand when necessary to counter these moves which only sabotage our ability to do them. This is where your skills of persuasion must be honed and put into play, as I’m sure I’ll be able to convince my producer this week to use my lens, but most likely because it will be cheaper! You’ll have to use another strategy.

Good luck!

JS

[John Sharaf]

This is a classic dilemma; backlight for white, thinning or bald heads.

The simplest solution is to turn the backlight off. This works without issue if you don’t really need a backlight to separate the subject from the background, such as a white cyc.

Another solution is to lower the light and bring it from the opposite side of the key, making it more of a “scratch” light.

Another choice, especially if the subject has dark clothing the “needs” seperation, is to flag the backlight off the head and just light the shoulders.

Finally, the suggestion to “waste” the backlight by cutting it down, or just even tipping it up until it’s barely noticeable works.

Finally, if all else fails, create the separation by lighting the background with a complementary color or contrast.

I’m sure you thought of all these solutions already!

JS

[John Sharaf]

Hi Paul,

The most common unit would be the Lite Panel 1×1 but I’m much more partial to the Cineo (formerly known as PRG) TruColor LED’s. They have a new smaller unit similar in size to the 1×1′ called the LS:

https://www.cineolighting.com/index.php/pages/product_ls/90

This unit costs about $2K, but is vastly superior in that it has an interchangeable color correction panels that make it daylight or tungsten and offer a very high CRI (*Color Reproduction Index), essentially eliminating the green spikes and assuring a very accurate color rendition of skin tones. By using the panel instead of paint on the actual LED’s one is assured that the color remains consistent and accurate not only as the light heats up in use, but also as accumulated heat would otherwise change the color over time.

While pricey, I can not think of a better long term investment in lighting equipment; consistent and accurate color, high efficiency, low temperature, extremely long globe life and solid professional build.

I own a pair of the larger HS units and am expecting delivery of two of the LS units any day now, and can honestly say that these are my “go-to” lights for interviews and cinema portraiture over the HMI’s in Chimeras that I’ve been using for many years.

Cheers!

JS

[John Sharaf]

Hi Paul,

You’re instinct to use a Diva for the purpose you describe is correct. It’s unfortunate that you can’t afford to buy it. Perhaps you should consider renting?

The one drawback I see to the Diva, is the need for a cable to the mains in a nursery school setting; this creates a danger of tripping to the young subjects.

I wouldn’t worry too much about green shift in the LED;’s, you can either use some minus green gel or white balance it out, so I’d consider a battery powered LED that is at least 1×1′ square, although you’ll probably find that purchasing this and the batteries will be as much as the Diva! So again, cnsidering the term of the project rental might be a thought?

Good luck,

JS

[John Sharaf]

Sometimes the filter wheel is in an intermediate position blocking light

JS

[John Sharaf]

Nothing wrong with using a true gray card for white balance. the process merely requires a target that is devoid of color! An advantage of gray might be that it’s probably less susceptible of reflecting another strong color in front of it?

For your green screen shoots, if lighting with tungsten balanced photo quality lights, preset 3200 is a good choice.

I always recommend flipping back and forth between preset and the AWB while observing on a properly adjusted monitor and choosing the best look. It might be counter intuitive but still correct.

JS

JS

[John Sharaf]

Hi Harry,

You want 12/3 SJO.

I buy at Home Depot (in LA)

Also try to get 20A Hubble Connectors

JS

[John Sharaf]

Bob,

As someone who brings a “truck load” of equipment to every shoot, I have often heard this sentiment about “intimidating” the subject. I firmly believe however, after more than thirty years of doing this type of work, it’s not the number of light stands or amount of kit that intimidates people, but rather the more common problem of insensitive crew and/or producers who fail to put themselves in the subjects position and create a tension that is poisonous to the task at hand.

The manifesto you refer to (and which I also forget the name of) has nothing to do with putting any subject at ease, but rather creating a more democratic playing field where production value created by higher resources is trumped by content and technique that does not cost anything. The fact is that neophytes with good ideas or skills they bring from other disciplines, often make better films than multimillion dollar Hollywood productions.

JS

[John Sharaf]

John,

That is not true. Movies like “Blair Witch Project” and others were partially or completely shot with even more inferior cameras. Sometimes it is for effect or other creative reasons that filmmakers choose “sub-standard” or “prosumer” quality technology, but usually, as I suspect in your case, it’s a matter if economics.

There are many better choices, such as Alexa, F65, F3 with external recorder, Red, or even film. I’m sure this is what the technician at the rental company means.

The requisites for quality vis-a-vis cinema projection are both in the camera, especially sensor size (35mm being a nominal standard) and in the recorder, where 10 bit color depth and 422 color sampling and as mild a compression scheme (or uncompressed) would be preferred.

The EX3 for example has a 1/2″ sensor and records at best at 420 8 bit in 35Mb size. It was really intended for low-end broadcasting.

Please don’t take any of this personally, because as I said at the beginning, you can still use whatever you want, it just makes it harder to achieve your goal of release in the cinema, except of course if you’re able to make up the technical deficiencies with your story telling ability and compelling topic or treatment.

JS

[John Sharaf]

HI Derek,

First go to the bank and make a $25000 loan.

Then rent Phantom Camera ($2500) + Lenses & Accessories as the shot looks like 700-100FPS. Did I say Phantom Tech too with proper DIT Station for Download, Transcode and Archive?

Also will need 25-40′ Ceiling Stage and large lift to mount and/or hold 20K Light + Power, Cable and Distro

If you want Ice, you’ll need to install that (unless you rent an Arena where the Ice Capades just played)

Good luck,

JS