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Meet The Gaffer #67: Tungsten Lit White Cyc
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- Опубліковано 12 жов 2017
- Here is a white limbo set lit with tungsten units: 12 Light Maxis, 2K space lights, an Arri T5 Fresnel, and two 2K Open Face units. The dimmer packs are controlled by a wireless dimmer board. (I'm sorry, but the on-camera bits are slightly out of focus.)
I have this exact lighting kit in my backpack. Super cheap and easy to set up.
this was my life for about 5 years of NYC white cyc commercials :) Need more T12s though and I prefer Skypans over Spacelights
+Cinematography Database, Yup, we used to fill round gel frames with tuff spun to soften the 5K Skypans... and there were the six light Mole chicken coops withe the silver bottomed mogul base globes... but that was way before the T-series lights:-) Good memories, right?!
great video! In a world of LEDs and HMIs its always fun to harness the brute output of some tungsten
+Brian DeContreras, Yes!
Thank you so much for this content! I really appreciate the real world, no nonsense look at these setups!
I love these kinds of videos. Super informative and helps us learn by seeing it in action. Thanks so much for sharing, Luke.
Beautiful light! Well done. That space is awesome...I'd be happy there
+Rick Urbanowski, Yup... it's one of the old ILM stages, so it has a lot of Star Wars and Lucas lore attached to it and really the only stage in the Bay Area with more traditional Hollywood perms... with a twist.
The timelapse of the set-up at the end is super helpful in reminding us about what we've learned. This is fast becoming my favourite channel on you tube. Terrific work! Thank you so much!
+floorboard8, I’m glad you find it helpful. This was just the beginning and end of the time lapse. I skipped the whole bit in the middle, figuring it would be too long... maybe some would like more details?
+floorboard8, my comment about the time lapse referred to Episode #69... where I didn’t include the whole set up. #67 was just the breakdown. And #68 was just the set up:-) I’m still learning my way around Time Lapse best practices.
Hey, Luke! Love your videos. It would be great (if possible) to provide a link to the videos you have worked on in the description so we can see the final product.
+Andrew Cashin, It would be! I hardly ever have that opportunity though because either the content is for internal use only or under NDA, but when I'm allowed I will do my best to go back and add links. Thank you for watching anyhow!
Super thankful that you make these. As a film student aspiring to be a cinematographer, these videos are priceless. Also, I really enjoyed the time lapse at the end!!
+Alex Woodruff, Thank you, Alex, I'm glad you find these helpful. It's fun to go old-school tungsten and add a little new-school wireless to it. All the best in your studies.
Great
Thanks for the video! Any problems with talents' glasses? If so, what would you do to solve it?
+Daniel Lobo, Thankfully, no. We probably would have made the Key go around to the left to make it more sidey and increased the fill.
Love Tungsten
+Felipe Henao, In this case it's not only more pleasant aesthetically, it's also cheaper. As long as you have the power and enough space to dissipate the heat, tungsten is a great way to go!
Thanks
The positioning of that keylight seems pretty interesting. I can't quite wrap my head around why you might want something like that, care to illuminate? To my mind is seems a little harder to rig, and less flexible than a more stock standard booklight? Perhaps the DoP wanted a little down directionality to the light but it seems soft enough that it would be very hard to read?
TheDubiousFilms, Right, I think the idea was to have the Key come over the top just a taste. Sometimes when you’ve done a thing a hundred times you feel like trying it a different way... and usually it’s just so so but every once in a while it’s magical:-)
I always wondered why the studio doesn't require shoe covers or laying down blankets during the prep and strike. Wouldn't that make for a much easier cleanup/repaint?
+AwesomeShot Studios, And some may do so. In this case they probably had different plans for the next client. When we put up the lights in the morning, we built everything off the white and pulled it into place. When we had to go onto the white we wore booties or put down layout board. The time lapse is only of the strike. I reversed it in parts to show what I was talking about re the track and chain hoist system. Hope that helps.
You're always a big help Luke. Thanks and have a great weekend.
A T5 for scratch lighting? Blows my mind.
+John Ubante, Well, I knew the unit was probably going to be pretty far away from talent and I didn't know if we were going to go hard or soft with the edge... I was hoping for a 5K, so when the T5 was offered I was happy to accept it.
Awesome stuff. What stop were you shooting at?
+Robert Moncrief, we had in the neighborhood of 100 foot candles.
Hey Luke, did you guys have to paint the cyc floor when you were done in the studio? Or what did the stage require you to do in terms of clean up? Thanks!
+Robert Martinez, In this case I believe we paid for a 30 ft swath to be painted white and then did not have to paint it back to pristine white.
Luke Seerveld interesting. I manage a large studio in Chicago and we recently re-did our white cyc floor so I am trying to see how other studios deal with floor painting. Thank you for your insight.
+Robert Martinez, Yup... it's having to paint over darker colors where I imagine the higher paint back cost comes in because you need more coats, and of course the chroma key colors probably cost more than white or black? It's always a dance. I commend the people who have to stay late to prep and paint for the next client and/or fret about how much the current client is tearing up the paint on the floor that will need to be pristine by the next day for someone else:-)
Robert Martinez I manage a stage in Portland, OR and we generally have the interns prep and clean under the direction of the stage or general manager, and then the stage manager sweeps and tidies up after wrap. We generally won't paint before a shoot unless the production company requests it, and then the cost of paint and labor is charged to the company in their invoice (this includes the cost of painting it back to white at the end of the shoot if the production company wanted it to be painted another color). Hope this gives you a sense of how other stages do it!
ben bach Thanks for your input Ben! Unfortunately, I don't have any interns 😭. Will need to talk to my boss about getting some.