Posted 16 January 2007 - 10:12 PM
I am in pre-production on a super-16 short to be shot on 7218. For some scenes I would like to emulate Harris Savides lighting style in "Birth," but am not sure I have either the electrical experience or the gripping resources to build and rig covered-wagons.
I am thinking of purchasing a strand of 24 light sockets that will take 25w bulbs each and filling them with 23w compact florescents, which will give off the equivelent of 100w incadescent bulbs and burn at 31k. If I buy two strands, that would potentially give me 4800w of overhead light for a medium-sized room. From there, I could hang a silk or muslin to soften the light and duv to flag it (and can remove bulbs where necessary). The added bonus is that it would run at about 12 amps!
The color temperature seems to be within a range I can compensate for, but I would be interested in hearing of other potential probelms or ideas you may have.
If there are no obvious problems with this approach, I'd like to plan a camera test for next week.
Thanks for your time!
Posted 16 January 2007 - 10:46 PM
Posted 16 January 2007 - 10:48 PM
Posted 16 January 2007 - 11:14 PM
Would I get flicker with the compact fluorescents in a medium socket? I was under the impression that the flicker had more to do with the ballast on tube florescent fixtures. Also, would I get a green spike at 3100 - if anything it would be a bit warm - correct? From what I understand 100 kelvin would barely be noticable compared to 3200 (if I understand correctly, based on David Mullen's explaination of color temperature differences in another post, I think it would require less than 1/8 CTB).
But I am not certain about any of this! Am I way off?
Thanks for your help (liked your reel as well).
Edited by tom quinn, 16 January 2007 - 11:16 PM.
Posted 16 January 2007 - 11:27 PM
We were also concered about power in the house and thought this may be a way to free up some amps.
Posted 16 January 2007 - 11:43 PM
I'd only mess with the compact flo idea if you were building a massive softbox for a large space but had power limitations.
Now if you need a daylight-balanced soft box then compact flos that are close to 5500K would be practical.
Posted 17 January 2007 - 12:19 AM
So, even though they are rated 3100k there would still be green spikes, as Frank stated, due to the broken spectrum, correct?
Posted 17 January 2007 - 12:54 AM
Posted 17 January 2007 - 01:01 AM
Flicker shouldn't be a problem, I've taken a couple of CF's apart to see what's inside and they definitely have a miniature electronic ballast in them. I'll hook up a couple up to an oscilloscope when I get a chance and see exactly what the frequencies are, but given the components I've seen inside the ones I've dissected, it's pretty high.
Would I get flicker with the compact fluorescents in a medium socket?
Posted 17 January 2007 - 01:57 AM
I'll also look further into building a softbox.
Hal, if you get time to test further, that's fantastic. If you don't, I'll let you know if we do a film test.
Posted 17 January 2007 - 02:29 AM
Posted 13 March 2007 - 12:06 AM
Since you were so helpful I thought I'd post a few stills from the shoot. I should have more soon. I was really nervous because I hadn't shot film in over a year and don't have much experience with it. Fortunately, I had a great gaff and camera team.
We shot on 7218 with an XTR Prod. We ended up using a mix of china balls, kinos, and fresnels instead of the overhead lights. We made one covered wagon and realized that we did not have time to rig each set up.
The aspect ratio may be a tad off (I stretched the exported stills in photoshop) and the color is probably a bit washed out on PC monitors.
Any feedback would be great. I'll post more when I get them.
Posted 13 March 2007 - 11:17 PM
Posted 15 March 2007 - 09:44 PM
Posted 16 March 2007 - 12:45 PM
The compact tube you refer to, is that those house hold bulb looking things?
I might do some back searches on this covered wagon.
Cheers, shots look nice.
Posted 26 March 2007 - 04:37 PM
We ended up skipping the covered wagon option after building one because we had a low ceiling, very short shooting schedule, and no ideal way to rig it quickly. I know on the Sopranos they often bolt them directly into the ceiling, but that was not an option for us. We started looking at different rigging options to get them overhead, but the logistics made it a poor option for our needs.
hope that helps,
Posted 20 July 2007 - 02:08 AM
Posted 31 August 2007 - 11:04 PM
I will post something in the general thread, but just wanted to let you know the film we discussed in this thread, "Derailed" won the Kodak Eastman Scholars Gold prize - 5k in cash and 5k in film stock! I'm very excited for the director and am really happy to have been involved. In addition, a second film I shot, "Diorama," won the bronze prize! Again, a really great director and I feel fortunate (and pretty darn excited) to have been involved in both. You can see some (rather dark due to final cut pro gamma) stills from that film here: dioramamovie.com
I just wanted to say thanks for all of your help as I prepped the project. This is a really great site for those of us starting out!!
Also, Jason, the coloring of the windows was done in post at Shooters in Philadelphia. The director wanted an exact match to a sunset earlier in the film and since we only had one HMI to shoot from the street, we didn't want to lose light by gelling it on set.