John Sharaf
Forum Replies Created
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Daniel,
Totas into ceiling is useless, with gel on them even more useless. Only bounce light that would work is punchy HMI’s like multiple 800’s, 1200’s or 2500’s. I don’t think you’re ready for the cost of these. Return to original concept; keep it simple shoot away from windows and/or keep windows out of shots.
Good luck!
JS
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Jolly,
I’d just say that you’re not going to be able to “start at the top”, but you are absolutely correct in your understanding that most jobs come from the network of who you know, who trusts you and believes you won’t embarrass them when they recommend or hire you for an assignment. So it is perfectly obvious that you’ll need to “network” in order to get ahead, and believe my it will not be fast track unless you’re related to someone in a position of power.
The folks doing”big things” are bombarded with people seeking their help, so you’re best off going about your business with that thought way in the back of your head. A more likely scenario is hooking up with a camera person, gaffer or crew doing “average” type productions, becoming an integral part and move up as they naturally will do.
Again, don’t get too discouraged, as in most parts of the country the economic recession has hit hard the TV and film production community, but this is s cyclical thing and eventually the need for more product will drive a job revival, you just be ready with your skills when it does!
JS
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Jolly,
The age old problem of “breaking in” compounded by a general decline in available jobs! What to do you ask.
The best advice of course is to be persistent, don’t give up your dream quickly or easily. Pursue every opportunity, freebie and lo pay. Eventually you too will “team up” with a cameraman, gaffer or crew, to whom you’ll become an asset.
Keep going to the movies and observe the lighting, watch how the sun travels across the sky and through windows, how it plays on walls when broken up by leafy trees blowing in the wind (as it is today in my house in Los Angeles).
Keep reading lighting books (there are many) and thinking “how did they light that?” when you watch TV or go the movies. Go to trade shows whenever possible, observe tv/movie crews in action, ask questions, read catalogs of lighting/grip equipment manufacturers, visit their office showrooms and dealers.
An especially good suggestion would be to go to your local grip/lighting rental vendors and offer to work at low pay while you learn. These are great places to “network” and meet their clients and other local technicians who will need “extra hands”.
Maybe you’ve thought of all these things, if so that’s good, now do them, religiously, again and again (in fact, never stop doing them. as lighting is a never ending educational project). If you hadn’t considered these things, now you might have a slightly more directed strategy to pursue. It’s a new year, make a new start and remember, “don’t give up”!
JS
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Blake,
Sony’s scheme for this and other “archival” purposes is to use the XDCAM Professional Disc. It is very cheap (@ $20/45 minutes of 50Mb bandwidth), robust and long lasting (50 years!). You would need the PDW-U1 Reader/Writer at both ends, but again, this is a relatively inexpensive device, with a street price of about $2750. This may sound like a lot, but will provide a long term mastering and archival method.
JS
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David,
You need to export the EX3 files to your computer and then transfer to the PDW-U1 with the Sony software. This presumes that your computer is qualified for the Sony software (most PC’s and current Intel Apples).
JS
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Dan,
The LED’s are really more of an “proximity” light, like a Kino Flo, so they definitely are not as versatile as the 650’s and 1K in the Arri kit, which can be used for both hard and soft light and can be aimed near and far. Also, because they are new and emerging technology they are still quite expensive (at least the good ones with accurate color). To be sure, hike yourself down to a pro video showroom and have a good play with all these units before you spend the big bucks, you’ll be much more secure that you’re making the right decision.
JS
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Dan,
Yes, a LED Lightpanel is a good choice; Daylight balanced and wide pattern. I’d use the one bigger than the mini, it’s about 3×6″ and has a dimmer which adjusts the light output without changing the color. Just dim it to taste based on front lit/back lit direction towards window.
JS
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Dan,
You can make this very hard or very easy and you’ll still have limitations with both scenarios, but that is not to say it cannot be done.
A lot depends on the direction of the windows; ideally they would be facing north, so you get what we call “North Light”, meaning consistent (unchanging) indirect daylight with no streaks of direct sunlight blasting in to muck things up. If this is the case turn the flos on and white balance in the mixed light. A daylight balanced on camera light to fill faces would be a big plus. The limitations here are still going to be bright areas out the window, so you’ll need to avoid them if possible in the backgrounds by moving the camera and/or re-framing.
If it were a big-time show, with budget and crew, we’d relamp the existing overheads with daylight balanced globes.
If you go the other route of hanging or placing your own lights, it’s also a big job, both resource-wise and time consuming, both putting up and taking down and you’ll still have to keep your lights (and the brightness out the window) out of the shot(s), you might have very little background left; assuming you want the freedom to shoot in every direction as opposed to composing fixed frames where you can move and adjust lighting to taste.
In sum, keep it simple; on-camera daylight balanced light, use the window light as key and practical flos as fill, maybe add one big HMI in Chimera like 800 joker from opposite side as window towards the front action area if you can afford a $150 rental and concentrate on the action and composing pretty pictures.
Happy Holidays!
JS
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That case kit is going to very full and heavy. Do your self a favor and go to a second box for more stuff and also a good strong cart like a Magliner.
Merry Christmas,
JS
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Stan,
All I’d suggest is that because your subject is high tech and “gee wizz” you have to be careful that the look and set is not too “corny”. If it were me, I’d keep it simple and graphic and let the products you’re featuring in the reviews take center stage. The product lighting on the taped pieces becomes very important!
JS