Need help bad!
Posted 09 December 2008 - 11:40 AM
I just ordered green screens to completely cover the entire room and carpet. So here is where I need the help. I want to know if there is anyway to attach lighting to the ceiling to produce continuous lighting around the 2 walls shown. I am a videographer by trade, so I KNOW that the light has to be spread evenly. My whole thing is that I have a TON of lighting that can be moved, so I can light the subject and the floor accordingly.
The other thing is that I dont want to spend a billion dollars on this project. Is there anything I can get at like Home Depot?
Hope You guys can help!
Posted 09 December 2008 - 11:49 AM
It's hard to avoid getting some professional grip gear for some of this -- like clamps with baby spuds or holes to take a baby pin, or gobo heads from c-stands, whatever the lighting unit itself needs in order to be mounted. Also, if you do a menace arm or goal-post rig, it helps to use beefy stands like combo stands w/ heavy sandbags at the base, for stability.
Certainly, though, it may be possible to create a lighting grid from the ceiling with pipe, clamps, and chain from a hardware store IF you can find something in the real ceiling above the drop-down panels that can handle real weight. With safety chains added. Or clamp vertical pipe from floor to ceiling (you'll need a heavy base of some kind) on each side of the screen that allows you to clamp a horizontal piece. Again, it better be well-secured.
Posted 09 December 2008 - 01:10 PM
This is not a great idea. I was just considering maintaining the property value and keeping the landlord happy. This is usually a better thing to do in a space with higher ceilings and some more elbow room. But, you do what you can with what you have.
Posted 09 December 2008 - 01:29 PM
Also, I read that when you are illuminating the subject it is better to light him/her from above also so you dont cast shadows. Is this true?
Posted 09 December 2008 - 01:51 PM
That is just a rule of thumb for utility lighting of an FX shot. Mostly for mediums and closer. For your student's purposes, it may be enough. On a commercial production, it doesn't often end up that easy. Many times, you have to try and match the lighting to the background layer that you will composite onto. That is a real challenge.
Come to think of it, that low ceiling might be your friend. Bounce PAR or fresnel light off the white ceiling panels to get the angles, subject sculpting and screen illumination and avoid all of the installation hassles altogether. That would meet your three requirements, keep the set-up cheap. keep the set-up versatile.
Posted 09 December 2008 - 02:23 PM
David's idea of Dedo's is a great one. You could line up a about a 6 to 12 (2 to 4 on the 10x and 4 to 8 on 16x8) of the Dedo lights with barn doors about 6 to 8 feet out. Try some defusion on the inside of the barn doors so the light won't spill downwards. You may need to black wrap the instrument it's self for spillage. That should give you a nice even spread on the green fabrics. You may want to also make them meet in the corner, this would allow for more shooting possibilities.
If you get too close to the wall and your angle is too steep, your light will fall off and not spread properly. Putting more overheads fixtures along the walls will also do the same and fall off too quickly to give a nice even key.
Best of luck
Edited by Alfeo Dixon, 09 December 2008 - 02:27 PM.
Posted 09 December 2008 - 07:06 PM
As much as possible, as Paul said, it helps to light the green separately from the subject, with as much distance between the subject and the green as possible, due to green spill (light hits the green and bounces back onto the subject.)
I often light greenscreens with Kinoflo tubes from all sides.
Posted 09 December 2008 - 07:17 PM
Posted 10 December 2008 - 09:28 AM
Posted 10 December 2008 - 09:34 AM
Posted 10 December 2008 - 09:38 AM
Posted 10 December 2008 - 09:47 AM
Posted 10 December 2008 - 11:25 AM
Just a few things:
I have got to give you guys a complement. This is the most efficient run board on the internet. All the other boards that I posted on I did not even receive a response. You guys are wonderful!
2nd- I am a Videographer and ever since this project and a small film I never realized how TRULY important a Cinematographer is! I am not sure if its a good thing for a Videographer to admit that but... my hat goes off to you!
Posted 10 December 2008 - 12:43 PM
Posted 10 December 2008 - 01:15 PM
I was the master engineer/resident lighting director for an Equity SPT that converted a dance rehearsal room to a black box theatre. We weren't able to pull the ceiling tiles because the host theatre complex wanted to reserve the option to use the room for a different purpose in the eventuality the black box didn't work out. I was able to add additional light pipes beyond the three the facility installed, eventually ending up with a grid system. The floor structure above was supported by cast in place concrete beams and I supported the added pipes with aircraft cabling passed through horizontal holes that I hammer drilled through the beams. That's a lot safer than if I had used anchors installed from one side of the beams. We also replaced the original white tiles with black tiles which stopped a lot of light spill in the space.
If you elect to leave the ceiling tile grid in place, the space above the tiles is an air plenum, and you run any cables above the tiles you MUST use plenum rated cables. Plenum rated cabling does not generate toxic fumes in case of overheating or a fire. You can imagine the result if cabling in a plenum space is generating toxic fumes which then get sucked into, and distributed by, the building HVAC system.
Posted 10 December 2008 - 02:10 PM
Sounds like you got the answers you needed.
Out of curiosity, is DJ KuRvY your real name?
Posted 10 December 2008 - 02:19 PM
Thanks for the help.