Archive for the 'Lighting' Category

Cars at Magic Hour

You’ll recognize the Audis here from the previous post, where they were under the hot lights of a stage display. Here, they are mirroring the reflected sky and surroundings of magic hour–a far more desirable environment.

While magic hour in tropical latitudes lasts a few minutes and quickly become happy hour early in the evening, magic hour in northern Europe (above 50 degrees north) lingers much longer. If you’re lighting cars in a studio, the ceiling becomes the sky. That’s why seamless fabrics are so sought after, whether used as a bounced muslin or canvas surface or a translucent silk or gridcloth with light from above.

But, it’s hard to beat natural, beautiful, available, magic hour light.

How Not to Light Cars

In all fairness, this lighting setup is not for a commercial. It’s a manufacturer’s demo display. But it graphically shows how cars reflect the sources lighting them. Maybe you want hot spots from the fresnels above. Probably not. A long gridcloth glowing from above would create a beautiful source for the cars below. Look at a car in the midday sun, and then compare the effect at magic hour, when the sky is aglow with (hopefully) glorious gradations of soft blue to orange. I think Bill Bennett, ASC and David Darby, ASC would agree.

FDTimes New Issue 32+33 Now Online

Film and Digital Times Mid-Year Cine Gear 2010 Edition (issue 32+33) is now online for subscribers.

We will be all over Cine Gear.

Visit us at Booth # 126 for a complimentary paper copy.

See you there: June 4-5.www.cinegearexpo.com

Dorn Good Strobe Softbox

In case you’re wondering what we use on many of the Film and Digital Times product still shots–it’s the Bruce Dorn “Whole Shooting’ Match for Speedlites” from IDC Photography and F. J. Westcott along with our Canon 580EX II Speedlite (strobe) that fires remotely with our Canon 7D.

Since Bruce does stills and motion pictures, he knows the benefit of placing a single source off-center when using diffusion. Better yet, his Asymetrical Softbox uses the same, real Gridcloth and Lite Gridcloth we all know and love.

I think still shooters call it a Strip Bank, but we call it a beautiful, soft single source.

Nila SL Space Light

Space Lights are an efficient way to light large studio sets with relatively even “sky light” from above. They hang like giant lanterns from the studio grid. Spaced roughly every 10 feet apart, they are helpful for lighting floor space in front of white cycs and blue or green screen setups.

A traditional tungsten Space Light consists of six 1000 watt tungsten bulbs inside a silk-like skirt. Typically, they get very hot. Nila Light president Jim Sanfilippo (left, at NAB) estimates that a studio will spend about $500 in air conditioning costs just to cool the place down for each Space Light used.

Enter the Nila SL. Its LEDs draw only 850 watts. This lightens the load, runs 80% cooler, and simplifies cabling. Available in Tungsten or Daylight. Onboard dimmer or DMX controlled. A powerfully cool idea.

California Sunshine in Moscow

by Roman Hoffmann

The Luminys SoftSun 100K and 50K light heads (www.luminyscorp.com) are now available in Moscow. Bogdan Chaplinsky and his crew at Bogdan I Brigada  (www.bogdanibrigada.ru), one of Russia’s largest rental houses, manage these two units.

At a presentation on February 4, 2010 in one of Bogdan’s stages, 20 Russian gaffers, lighting technicians and Dedo Weigert’s crew gathered around the two biggest and most powerful film lighting sources on earth.

“The ignition of 100,000 watts is always a tense and magical moment,” said Christian Augustin, of Dedo Weigert Film, who did the technical upgrade of the two units. “This technology almost crosses the line of what is physically possible. You need a 250 kVA generator to power the 100K as well as the 50K unit.”

Luminys (former Lightning Strikes) is the Hollywood company known for its “Back to the Future” type lighting invented by David Pringle. Bogdan Chaplinsky (no relation to Charlie), founder and owner of Bogdan I Brigada, has a large inventory of lighting equipment, dollies, cranes and generators for film and TV productions. He now rents the 50K and 100K SoftSuns.

Roman Hoffmann talked with Bogdan Chaplinsky and David Pringle:

Bogdan, are you afraid of 100,000 Watts? 100.000 watts isn’t scary, but the size of the light was a bit frightening, until it was put on stands and ignited.

Do you think that the SoftSuns will become popular in Russia? I hope so, but it is not easy to predict, because people first have to get familiar with this extraordinary equipment.

David, how many 18K units does a 100K SoftSun replace on a set? To cover the same area as a 100K SoftSun, about three 18K units are needed at a distance of 100 feet (30.5m). To then achieve a uniform intensity equal to a 100K SoftSun set at full flood at a distance of 100ft (297 footcandles/3,197 lux), a total of seven 18K units are needed (18K  = approx 138.9 footcandles/1,495 lux at 100ft/30.5m), taking into consideration the 50% falloff from the center beam. It should be noted that additional diffusion on the 18Ks will be necessary to match the soft light of the SoftSun, resulting in some loss of light from the 18K units.

What are the advantages of the SoftSun? SoftSun requires no warm-up time. Maximum power and proper color temperature are achieved the moment it is struck. It is also dimmable and the only daylight color temperature light source that can be dimmed through 97% of its range with minimal shift in color temperature. Dimming can also be remotely controlled via DMX. SoftSun is flicker-free at any shutter angle or frame rate to 1,500 fps. The color spectrum of the lamp is smooth and even with none of the undesirable color spikes or gaps associated with HMI or Tungsten lamps. Color stays true regardless of lamp age.

After trying to replace the sun, what is your next plan? Well yes, we have in mind a 200K SoftSun mounted on a truck.

AFC Micro Salon 2010

Highlights of AFC Micro Salon 2010. Full report coming soon. Click here for full-screen slideshow.

Hanging Lights

Matthews_MAX960m

Here’s a clever piece of Gripology. Instead of Condors or Parallels, suspend your lights from the roof or an upstairs window with a Matthews Max. The “boom-like” stand positions lights up to 75 pounds, extending 16 feet from the base. More often seen to position a back-light, this is an innovative application by key grip John Janusek on the 2010 Liongate film Warrior, shot by cinematographer Masanobu Takyanagi, starring Nick Nolte. Important: note the safety lines.