[John Sharaf]

Dan,

Now you’re catching on; figure out what you need, find it, buy it, use it. Doesn’t it feel good?

JS

[John Sharaf]

The actual globe used is not specified, but there is a very good chance a comparable 220v version is available. Contact the seller to ask. If there is, you’re good to go. Otherwise a transformer for that much power will be too big and bulky to be practical. another solution I’ve used in the past is to make a pigtail power adapter that puts two 120v units in series and makes them 240 volts. Very elegent solution if proper globes are not available.

JS

[John Sharaf]

Dan,

Multi-lite’s respopnse:

In response to your request for quote on 5600K 4’ bi-pin fluorescent lamps:

We have them in T-8 and T-12 4’ bi-pin.

The T-8 is smaller in diameter than the T-12

Most new buildings use the T-8 however the T-12 is the most common.

These lamps are $19.00 ea 30 pcs in a case.

So the questions are: how many tubes do you need, what’s the budget, can you amortize it over several shoots (as you’ll likely need the same units to shoot in other classrooms), maybe you can rent from local lighting vendor (longshot!).

JS

[John Sharaf]

Dan,

There are many vendors of photographic globes. I’ve an inquiry into Multi-Lite here in Burbank, Ca. for the globes you need, but just let your fingers do the walking on the phone and internet; you’ll find wwhat you want at the right price.

JS

[John Sharaf]

Anand,

Never actually heard of or use a “Robotic On Hydro Extension” but have to assume it’s a device that can move a small POV camera by remore control. The operator with a monitor and control panel at the end of a cable tether makes the adjustments in real time.

Appropriate cameras would be the Iconix small box camera or even larger size boxes such as the Sony HDCP1

https://pro.sony.com/bbsc/ssr/cat-broadcastcameras/cat-pov/product-HDCP1/

A multicam concert shoot like what you’re describing is best organized by an OB (Outside Broadcast)truck facility who will provide a “Tech Manager” versed in all the available cameras, lenses and mounting systems available and practical. You should contact such a company in your area.

JS

[John Sharaf]

Eric,

Simply put the daylight is blue (5600K) and the tungsten lights you have are yellow (3200). You can adjust their color by adding blue gel; full correction is known as CTB, alternatively there is less with 1/2, 1/4, etc. The problem is that adding blue gel to the tungsten lights cuts their output dramatically, more than half, where you need an enormous amount of light to balance the outside levels.

To balance these two levels you can use neutral density gel on the window (put outside to reduce reflections, and mount very carefully because it’s now part of the shot) or use “combination” neutral density and CTO (color correction from daylight to tungsten) then you need not change the color of the artificial lights. In your case this is probably the best course.

The real best solution is to use more powerful HMI lights which are daylight in color and 4x the efficiency of tungsten, such that a 1200w HMI equals the output of a 5000w tungsten and is already daylight corrected (without additional gels).

JS

[John Sharaf]

Yeah sorry, Omni’s. They burn hot too and if you attach the gel to the doors it’ll melt and possibly burn too. That’s why they have the gel frames you mentioned. I’d really look into the possibility of finding 2900K globes and then using some white diffusion like Lee 216 or 250 in the gel frame too to improve the quality of the light. This type of diffusion is even more heat resistant than color correction gels like CTO and CTB.

JS

[John Sharaf]

Bill,

While it is physically possible to do a walk and talk with seamless. you’ll be severely limited to a head to toe shot at just the beginning and having to possibly garbage matte the sides as the subject approaches the camera. To have the necessary flexibility use as large a white cyc as you can find and afford.

JS

[John Sharaf]

Dan,

Here’s link to full spectrum 5600K 40w 4′ tubes for $4:

https://www.bulbtronics.com/Search-The-WareHouse/ProductDetail.aspx?sid=0057679&pid=LTF40T12VS

I’ve relamped entire auditoriums for ABC/Nightline and the labor to take then down was more than the globes were worth, so we just left them up. I’d recommend you come in the day before for install. It’ll take a couple of hours.

If you want to add floor lighting, use Kino Flo 4’Fourbanks with these same globes, just white balance and shoot. The white balance will remove whatever green spike is left over.

JS

[John Sharaf]

Hi Scott,

Practical globes burn at about 2900K for long life, whereas photographic globes burn at 3200 for correct color rendering. To match the two you can use 1/8 or 1/4 CTO or else use dimmers on your Tota’s to “warm” them up with lower voltage. One must exercise caution when gelling open faced and notoriously “hot” units like totas so as not to burn the gel and start a fire. Alternatively it is often possible to find 2900K globes to put in the light itself, these are often available in order to use motion picture lights for architectural purposes.

JS