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Changing the colour of a light during a shot


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#1 Jacqueline Donaldson

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Posted 03 July 2006 - 04:40 AM

Hi guys, hope you can help give me some ideas with this one - I've got a few ideas , not sure they will work!

I'm preping for a shoot and we want to have a visual shift in strong colour during a shot, this will happen several times throughout the film, we're shooting on mini-DV. There is no budget so we can't use several lights gelled with different colours in the same area and dim one while dimming up the other, which was my original idea I was thinking about building my own large gel frame ladders (so to speak) and have an assistant shift the frames up and down to a specific colour manually at a specific time. These are the key daylight HMI's outside the windows of our location.

Also, the director would like the light to be broken up - a venetian blind pattern etc...but he also wants to use a white blind on the windows to stop the audience seeing outside and we are using several devices to do long 360 degree shots and doing alot of hand held camera. We've discussed whether the pattern will successfull be projected through the blind as it acts as a diffuser...our other idea is that we buy actual venetian blinds, tilt they to give the desired effect and it will should also prevent the camera from spying our equipment outside - will this work - I've got no money or resources to experiment with the idea before we shoot. I 've suggested it might be nicer to use tree branches to create a more uneven natural look, but again we have the problem with seeing through the windows and perhaps seeing the equipment!

Am I crazy or is there a light out there that can perform like an HMI and change colour too??

Thanks for any replys guys.

Jacqueline.
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#2 Adam Frisch FSF

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Posted 03 July 2006 - 08:32 AM

Sure. Many stage lighting lamps can do that, like the Mac 500's from Martin. Fantastic lights that can be programmable by DMX (so you can repeat stuff and whatnot). There's plenty of other lamps from other manufacturers. Not that cheap to rent, though.

If you're completely strapped for cash, try some of those cheap-a** 'home disco' lights you can buy at any gadget store. Not very bright and quite useless, but might work in a pinch.
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#3 Michael Nash

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Posted 03 July 2006 - 04:37 PM

Sheer curtains are going to kill the sharpness of your venetian blind pattern. Maybe you can have the sheers open part way?
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#4 G McMahon

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Posted 06 July 2006 - 10:06 AM

One time I changed the preset colour temps during a dolly move behind something close to camera. I obviously preset the colour temps that one of them was preset through a colour gel to give a different colour bias.
Other thing, you don't always have to pay with cash if your intimidated by rental costs. Try getting to know your lighting house or a gaffer and offer alcohol instead of cash, off the books. Numerous times of have rented gear for the cost of only a couple of bottles of spirits. Think about it, the guys that work there get nothing out of charging cheap productions standard rates, but by providing liqour they get a kick back. Show them some respect (that also means bringing their gear back in one piece and easy for them to put away, cables rolled properly etc.), let them feel part of your development, allow time to have a coffee with them and ask there advice. They will prefer to be adding to the devlopment of a rising DP then letting their lights sit on the shelf over the weekend. Come with a wish list and negotiate, they understand there techies not pretentious film wankers. Also provide them with the finished product on DVD, with a credit.
Just to add, when it comes to looking after the gear, even if it means taking a bit longer tell non techs that you don't require a hand with the gear at wrap time, do it yourself with your techs.
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#5 Robert Aldrich

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Posted 29 July 2006 - 10:36 PM

Hey, that's some good, "on the ground" advice, here! Personal relations works nearly as well as money any day!

One time I changed the preset colour temps during a dolly move behind something close to camera. I obviously preset the colour temps that one of them was preset through a colour gel to give a different colour bias.
Other thing, you don't always have to pay with cash if your intimidated by rental costs. Try getting to know your lighting house or a gaffer and offer alcohol instead of cash, off the books. Numerous times of have rented gear for the cost of only a couple of bottles of spirits. Think about it, the guys that work there get nothing out of charging cheap productions standard rates, but by providing liqour they get a kick back. Show them some respect (that also means bringing their gear back in one piece and easy for them to put away, cables rolled properly etc.), let them feel part of your development, allow time to have a coffee with them and ask there advice. They will prefer to be adding to the devlopment of a rising DP then letting their lights sit on the shelf over the weekend. Come with a wish list and negotiate, they understand there techies not pretentious film wankers. Also provide them with the finished product on DVD, with a credit.
Just to add, when it comes to looking after the gear, even if it means taking a bit longer tell non techs that you don't require a hand with the gear at wrap time, do it yourself with your techs.


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Visual Products

Gamma Ray Digital Inc

Metropolis Post

CineTape

The Slider

Glidecam

Media Blackout - Custom Cables and AKS

Technodolly

CineLab

Willys Widgets

rebotnix Technologies

Aerial Filmworks

Paralinx LLC

Rig Wheels Passport

Abel Cine

Broadcast Solutions Inc

Ritter Battery

Wooden Camera