[John Sharaf]

Eric,

I don’t know what network you’re working for, but when I travel for Net News assignments I take at least a dozen pieces, including one cart. I could not expect expect to do a “network” quality job without the proper equipment. If it’s a Newsmagazine, I’ll usually take two camera packages and as many as 20-40 pieces.

Here’s how a minimum package would breakdown:

Camera Case w/ 21x Lens, AC Power Supply
Battery Box with 4-6 Batteries and 4-Place Charger
Lens Case with 14X WA Lens, Matte Box and Filters
Tripod Case w/Head. Kegs, Spreader
17″ Monitor or 8.4″ Monitor + Waveform Vectorscope
Audio package
800W HMI x 2
Dedo Light Kit (4 units)
Stand Boxes x 2 (2 Location stands, 2 C Stands, 2 Extention Cords, Small Chimera, CTO Gel, Lee 216 Gel)
Magliner Cart

That’s 12 pieces, and I can do some serious damage with this kit, but I still might be wanting, depending on what it is we’re suppose to shoot.

When you travel with a kit this size, you need at least two people on the crew (not the producer) who can be responsible for the gear. It takes two to check in at the airport while parking the car or getting a rental car, and to get into and out of the location(s) and hotel(s).

If your client wants production value and network quality they should not be scared of a little excess baggage. You have to have media credentials, but most airlines (although some do not, you must check ahead) offer discounted “media rates” as low as $50/piece.

Even though you don’t have the luxury of scouts, a smart camera person will carefully query their client of the step by step needs of each scene they want to shoot; what type of location, inside or out, day or night, etc. This knowledge will help you explain exactly what you’ll need to bring and extrapolate how many cases that will take.

An alternative is to hire a lighting guy with a van full of the necessary gear in each city. You have to carefully run the numbers, sometimes this is cheaper (or better), sometimes not, than the excess cargo and larger vehicle you’ll need to rent on location.

This advice is from many years of doing exactly this type of work all over this country and around the world. Your challenge will be in successfully convincing your client of the need and costs involved in doing what they’re asking you to do. Sometimes, although it hard to do, you just have to say “no” if what they’re asking is impossible!

Good luck,

JS

[John Sharaf]

HI Mike,

Just did this yesterday for a series of PSA’s for the next Stand Up 2 Cancer Telethon.

The SOP is light the white to 80 IRE on your waveform wuth as straight a line across the scope as possible (you’ll see some slight vignetting if your lens is wide open) and put the daces at the normal 60-65%. Volia!

JS

[John Sharaf]

HI Jason,

The biggest HMI’s that you can plug into a normal household circuit is the Arri 1800w unit which can be configured as a PAR with lenses or ARRIMAX with special open faced reflector. K5600 also makes 1600w units in either their BIG (Barebulb) or Fresnel (Black Jack) configtations and are more readily kit packed for travel. Both brands are excellent lights!

JS

[John Sharaf]

Michael,

You can move the light while it’s burning; it’s just that there is often a tangle with the head feeder, ballast and extension cord, such that you have to consider, like a chess move, where your next placement will be.

Some lights more than others have “hot restrike” issues such that if you do turn them off, move and try to reignite, they might not strike until they cool off a little.

Considerations of how long the unit was on, ambient temperatures and the “personality” of the particular brand and/or model of the HMI light come into play.

JS

[John Sharaf]

Hi Kevin,

I know what you mean, I still have two Varicam 27F’s (but rarely use them).

The best choice amongst the many third-party digital recorders is the Sound Devices PIX 240. The main reasons being it’s fine build, ease of use and ProRes and DNxHD Codecs which are the most common direct to edit formats.

It also records on both CF and SSD.

This device will also enhance your next camera when you eventually get it, as most newer cameras offer Log recording internally, so you can simultaneously use the PIX to record proxy dailies with a LUT or 709 look.

JS

[John Sharaf]

HI Johnny,

It’s funny how everyone wants a proper lighting kit that fits in a ditty bag; it really is a fantasy not to mention counter intuitive. But I understand the desire (I’d like a full head of hair again too!).

The problem is that while cameras (like the ones you mention) have been drastically reduced in size (although lenses really have not) good lighting instruments are defined by their brute force and large size (or ability to fill at least a large light box like a chimera). In addition the need for efficiency (high output to wattage) and daylight color make HMI’s the ideal choice for portable lighting, yet their bulk is increased by the need for a ballast in addition to the head, cable and accessories. Your question is a constant dilemma for the traveling cinematographer.

Logistically the first consideration should be whether you can afford to travel with a box of lighting kit as excess baggage; if so (I hope that’s your answer) find out how big and heavy the box can be with out incurring “overweight” charge and build a suitable kit.

Remember you’ll need stands, extension cords, bounce boards, etc in addition to the lights themselves. I have never really been able to do it with just one box; at the least, it’s been a box with lights and a bag or box with stands, gets and cables.

If I had to pick one and only one light to use on a trip to light faces, I’d pick a Joker 800 with a Small Video Pro Chimera and a way to “slow it down” for night interiors or otherwise darker locations. You could use ND gel and/or net clipped to the outside of the Chimera. If I could add another box, I’d pack a 4-light Dedo kit, which could be used for backlight, fill light or background lights. With a stand box this is three cases that can do a lot of damage.

JMHO

JS

[John Sharaf]

Hi Todd,

Horizontal globe better than vertical globe; promotes longer globe life and potential damage to socket from excess heat. Remember that the heat will rise into whatever is above it.

Depending on the ambiance it might not even be necessary to light the white, especially if it is very large. It’d suggest you try to source a
large white silk parachute.

JS

[John Sharaf]

Hi Mike,

If it’s the 400 ballast you need, I might have an extra one available for sale. Contact me off list at john at sharaf dot net

JS

[John Sharaf]

Dan,

Two things; if this is just a one-off shoot, there’s no need to buy the gear, just rent it. Second, if this is a continuing project buy the proper gear and amortize it over time. Furthermore, if the project has a life of 6 months or a year, use it and then sell it, this is the cheapest scenario of all.

Paper vs. Muslin. Muslin is available in sizes larger than a seamless paper, which is really intended for head shots or full body shot of one person at most. It is reusable but sometimes you’ll need a steamer to eradicate wrinkles. Seamless is cheap and easy to rig.

Lighting kit is twofold; even lighting (left and right) for white backing. Not too much is necessary, but it must be a straight line across the waveform monitor at preferably 80 ire. I’d suggest 4’TwoBank Kino Flos

Second is your favorite portraiture lighting for the foreground, without polluting the white background. I’d recommend 2’FourBank KF for key and 2’TwoBank KF’s for fill and backlight.

These five lights plus stands and sand bags might cost $4000 or rent for $300-400/ day. Pick your poison!

Cheers,

JS

[John Sharaf]

Jeez Bruce, you’re still milking that old Varicam or yours! I can’t believe it but I still have a few requests a year for mine, but I get real nervous about whether the head’s going to clog. My main client who used it though recently changed to the PDW800’s, because they wre more available for regional shoots.

Obviously KiPro or Nano is a great way to extend the life of that camera, which still makes as good a picture as can be done in 2/3″

I have to say though that I’m much more inspired when I use the F3, Alexa or F65’s, especially if the project is going to a big screen. The large format look is definitely the vogue and I don’t believe that 2/3″ for important projects will last much longer. I’d gladly sell my two remaining tape based Varicams for any reasonable offer. I even gave one to a friend who needed a camera for a long term project!

Regards,

JS