Terry Leahy
Forum Replies Created
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Very interesting…Go with individuals instead of kits…I like this idea.
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I think I know what I’m going to do. After consulting with a couple DPs I worked with, they recommended to go with an ARRI kit first. Basically, master lighting using the tools everybody else did and then add in the others as neccessary. And seeing as a diva lite 401 kit is 1400 and an arri kit with 3 650s is 1800, to start with the basic kit. Then when funds are available, grab a diva lite and begin using that to light subject and using the arris to light the backgrounds. After all, if I just have a diva lite, then the subject looks great but thats it, since I wouldn’t have enough light to actually light the rest of the location.
Basically, I’m thinking master the basics…then add to.
Thoughts?
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Wow Bill, Thank you for ruining my dreams of an easy choice. 🙂
This makes my purchase way more difficult. I mean truthfully I need something controllable that can be used for various situations from lighting a full on location set, to a simple interview. But I can’t blow a circuit wherever I am. I also, often need to pack up quickly so waiting for lights to cool down will suck. But, these were the tools used by the pros for 100 years and fully understood as you said.
Something is telling me to go flourescent with two types of bulbs on diva lights but now i’m not sure. I mean, does it make sense to grab a tungsten kit for 2 grand as a base kit before expanding into flourescent, or should I just start with 2 diva lights and build around them?
Decisions…decisions….
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I ask because I am looking at these
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True…So Kino Flo Diva Lights. Yeah the more I read about using them in cramped spaces the more I kinda like them. They don’t seem that great for lighting a room, but good for lighting a subject, which at this point is more my focus.
You mentioned very big/big or big/small…What do you mean? Like a 401 and 201?
Any other thoughts?
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Go or go home I suppose!
Is this properly priced?
https://www.bhphotovideo.com/c/product/422108-REG/Sennheiser_Ultimate_Shotgun_Microphone_Kit.html
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Does Flashing the Firmware take very long? Or is it just an annoyance between parts of an edit. At the end of the day I did only pay 700 bucks and don’t have a highend broadcast monitor yet anyway. Also Shane, thanks for taking the time to answer all my questions. And here’s another. Partitioning a drive with Macbook Pro. How would one go about that? Our workflow is using multiple 2TB Internal Drives in E-Sata Docks, should I just Partition one of the those Half for Adobe and Half for FCP with my internal running AVID? This is something that confuses me so any advice would be appreciated.
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Ay Dios Mio! So much to learn in this nutty field. So an effective workflow might be, launch MXO2 Ingest or Convert to Symphony and do first cut. Boot other Partition for Final Cut Studio and flash MXO2 Find a way to send it to Color for Grading, Boot other Partition and Flash MXO2 Send it back to Symphony. Create motion effects in After Effects and add to Symphony sequence. Export to H.264 using MAX technology. Geez…I have 500 Gig Flash Memory in my Macbook Pro but really don’t want to (and don’t know how) to partition the drive…What the heck do other people do?
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Right?
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Thanks Steve