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Gelling Lights Intended as Soft Sources


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#1 Marquette Trishaun

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Posted 06 June 2007 - 07:38 PM

Hello All,

My goal is to produce large soft sources of light using (4'x4') silks and open face units (arrilite 2k) etc.

Is it possible to cut the gel into a circle and use it like the drop in scrims that came with my lights, or am I stuck buying a 4'x4 sheet and using a frame in addition to my silk frame.

I have seen some dichroic temperature shifting filters on BandH photo, but none in the Storaro series like I intend to use.

Part two of this question is, am I affecting the quality and color concentration of my light in different ways depending on where the gel is applied.

-Thanks in advance,
Marquette
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#2 David Regan

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Posted 06 June 2007 - 08:02 PM

Is it possible to cut the gel into a circle and use it like the drop in scrims that came with my lights, or am I stuck buying a 4'x4 sheet and using a frame in addition to my silk frame.


Dropping the gel in where scrims go will melt the gel. I usually clip gels to the barndoor. So no you aren't stuck using just the 4'x4' sheets, you certainly could if you wanted, i.e. to cover a very large light source, but for an 2k openface, you should be fine cutting down the sheet into smaller pieces and clipping them to the barndoors.

Good Luck

Edited by David Regan, 06 June 2007 - 08:04 PM.

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#3 timHealy

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Posted 06 June 2007 - 10:00 PM

I agree and disagree. it depends on the light. Generally speaking on tungsten fresnels 5k and lower one can put gels inside the doors or on gel frames in the place for scrims and it won't burn. However heat resistant lighting gels will melt if the gel and is doubled up touching another layer of gel or a hot scrim on the same light. The gels basically need the breathing room so if you have scrims in it or plan on doing so, at least put them "inside the doors" just in front of the fresnel or on the doors. One uses less gel inside the doors then putting it outside the doors and it helps to control spill.

On 10ks, 20ks, 24ks and Maxi brutes it is usually easier to use gel on a grip frame on a stand than on a light.

On open face lights light 1 and 2 k blondes and red heads, one has to put the gel outside the doors. Inside the doors will burn it up.

But any of the lights are full spot, you may get some burn out spots on the gel.

On tungsten mole pars one should put gel outside the doors.

On par cans one can use gel frames but with both types of pars if you are using narrow and very narrow you may want to check for burn out spots on the gel once in a while and perhaps use heat shield.

On HMI's 4ks and down can be easily used outside the doors with a widish lens. On 6k and up, it would be better to use frames. However once you go to the narrow or clear lens one had better to use a grip frame and heat shield with a gap between the gel and heat shield or they will melt together.

It has not effect where the gel is placed, but like I mentioned, inside the doors or in a gel frame in the scrim slot will have less spill than on the doors.

Also I have never seen 4x4 sheets. Gel usually comes in much smaller sheets and 48 inch wide rolls where you can cut 4x4 sheets for 4x4 grip frames. Some gels are available a bit wider for special applications.

Just my 2 cents

best

Tim
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#4 David Auner aac

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Posted 07 June 2007 - 02:10 AM

Part two of this question is, am I affecting the quality and color concentration of my light in different ways depending on where the gel is applied.


Hi,
I don't think that the place where you apply the gel matters for color gels. It does matter for diffusion. And of course, for colour/diffusion gels such as Blue Frost etc.

Cheers, Dave
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#5 Jonathan Bowerbank

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Posted 07 June 2007 - 02:33 AM

I only put my diffusion gels INSIDE the barndoors if I plan on using those barndoors to shape my light a bit.

The difference (if any) between what look you get from placing your diffusion dropped in like a scrim or clipped to the barndoors is minimal at most. However, you will definitely get a different look if you're using silks on a frame and placing the frame further or closer to your source...that's when there really is a noticeable difference in the light's behavior.

216 diffusion might hold up well if you drop it in...but DO NOT try it with toughspun, ha ha!


Regarding the dichroic filters, Storaro's filters are basically very much influenced by his experience in lighting for the theatre. So, if you go to any theatrical lighting expendables store, you'll probably find what you're looking for. Otherwise, just get the Storaro gels. They hold up to heat impressively well. VS Red is a strangely thinner & flimsier material, but it held up remarkably well when I had it in front of a 2k fresnel for a 1/2 hour on a gel test I shot.
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#6 Marquette Trishaun

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Posted 07 June 2007 - 09:06 AM

Thanks for the tons of great info.

Gel frames for my 1k fresnels and on the barndoors for my 2k open face units.

My only gripe with the barndoor approach is that by the time I have adjusted the shape of the light and applied the gels, we usually spend an equal amount of time trying to reduce and control the spill etc.

Also, thanks for the info on the Storaro series of Gels. I do have a ROSCO swatchbook, but in the end game I am trying to find my taste in mood without having to test a million and one different shades and colors.

I understand what ROSCO is attempting to do. But their gel charts are a bit cumbersome, blue for a midnight, blue for midnight by the ocean, blue for when you thought you wanted blue but needed red.

I'll just trust Storaro on this next project and call it a day.

Sorry for the rant,
Marquette
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