Cheap Lights: to do or not to do

 

Insight: Always use the best lighting instruments you can afford to buy or rent. Grip/Gaff houses are very reasonable and can provide you and your production the exact types and accessories your project requires. They can even provide you expert help as part of the complete package

 

That being said, if for whatever reason, you are going to try and build your own, “cheap” light kit, keep the following in mind.

 

Basic understanding: All current Film/Video lights were created for specific needs and as you re-invent the wheel you must keep those needs in mind.

1.      Matching bulb temp to Film Emulsion requirements. (Ability to white balance for video acquisition)

2.      Provide for ease of use and stable set-up.

3.      Provide for a variety of Focused and Diffused lighting needs.

 

Tip 1: No matter what approach (outdoor T3/4 quarts, Florescent shop lights…) keep them in the same color temp range or make sure you can get replacement bulbs that are. Most of the T3/4 quarts lights will be about 2800k if everything you use is that temp then white balancing to that temp will look fine, but replacing the bulbs with 3200k won’t hurt and still saves you money.  In addition you need to find lights that have the ability to hold gels and diffusing material. Note if using the quarts shop or outdoor type. Most of these style lights come with wire screens. Cut the inside wires and leave the outside as wings for Gel attachment. Warning: It is very dangerous to use quartz lights that do not use a glass barrier over the bulb.

 

Tip 2: Make sure that what ever you buy or invent, that it has a solid, safe mounting section. They should mount on standard light stands or C-Stands. Note, if using the outdoor type make sure you by one that has a mounting yoke not tube. Most  have a center hole already that will or can be enlarged to accept a standard stand mount head. (These heads can be obtained on line or from most photo stores for as little as $2.00 each – but inventive types can create their own with PVC tubing, ¼ X 20 nuts and bolts, some glue and a drill or tap.) Warning: make sure it is strong and by the way this homemade version will not save you money.

 

Tip 3: C-Stands and Light Stands are worth the investment, buy them new or find some on the Internet, but don’t try to build them. This is as much a safety issue as it is a cost effective one. On the other hand old mic stands could have some use, but have height limitations. Stands need to be 8ft high to be effective, 10’s and ones that will accept arms are even better.

 

Tip 4: Over the counter lights may have hard edges but are not focusable. Most of the time this is not large issue, but it will be necessary to use at least one focusable light. This is one you should buy. There are a variety of less expensive focusable instruments, including used stage Fresenel and Ellipsoidal units.

 

Tip 5: There are a lot of inexpensive “hot light” soft boxes with speed rings on Ebay.  These can, with a little creativity, be mounted with standard bulb mounts as well as a stand mount. With one of these in your kit, and if you carry a variety of  lamps (wattage and color temp) it will provide you with very good soft source and temp control.

 

Tip 6: Cases for both the lights and stands can be found in the strangest places. Inexpensive airport golf club bags work well for standard light stands. So do heavy-duty duffel bags.  When using either I like to line the bag with foam sleeping matt material as well as use an elastic (bungee) cord to tie the stands together (keeps them form denting themselves).  Most large Hardware centers carry a variety (size and shape) of toolboxes, many with handles and wheels. The above foam (or small cardboard boxes taped together) can be used to create dividers to keep the lights apart.

 

Tip 8: Gels need to be bought, but many of the other gaffing/grip accessories can be found locally. Foam Core (black one size) for reflectors and flags. Spring Clips, Spring clothespins (C-47s), heavy aluminum foil (sprayed with black heat temp paint on one side) makes black wrap. Car window sun reflectors  (different patterns), stainless steel screen material makes good scrims (doubled up make a full), black fiberglass screen does well as a Full Net to cut sun light (do not use the fiberglass on lights), Shear white curtains or net (used for veils) even plastic drop cloths instead of silk. Jugs sand (water makes me nervous around power), ankle weights, small bell weights on loop ropes, even zip lock bags of sand work for stand weights.

 

Tip 9: Any good Indie “do it yourself” grip/gaffer will spend hours walking the isles of hardware, variety stores, dollar stores, sporting good stores and office supply stores looking for cheap adaptable tools.

 

Tip 10: As fun as the above may be, a good gaffer and real equipment is still your best bet.

 

If you have a question or tip to share, contact Roger at rschut8293@aol.com (and memo it, insights and tips)

Sound Acquisition

Problem:

 

It is amazing what an audience will put up with, but one thing they will not tolerate is poor sound (low level, over driven, over powered by general background, or interrupted by that train or airplane).  What is even more amazing is that sound acquisition is the weakest aspect of most small video or Indie productions. That being said, the question is why? Or better yet why does it stay that way?

 

Insight: Part of the reason is that often it is the afterthought and the person responsible for field acquisition during taping was grabbed or volunteered to handle the boom and has now become the boom and mixer operator. In this last case they may not even be monitoring the actual recorded sound.

 

Process possibilities:

 

Boom mic connected to DAT or Mini Disk or Digital Recorder, normally through a mixer if multi mics or controlling volume with the recording unit if a single mic. This volume level is monitored with headphones as well as watching meters. Sometime a reference channel is sent to the camera (video) and or a Slate or some form of synchronizer is established at the beginning of each shoot.

 

The boom mic is attached directly to the Video camera (if using balanced XLRs , most digital cameras will provide adequate sound. In this case the Mixer must set levels on the camera and then monitor the camera’s recorded signal and adjust the boom position for slight volume differences.

 

In either case, even the best boom mic (not that everyone is always using the best)  is only as good as the operator.  Being able to hear the voices is not the same as getting good solid voice recording. Closer is always better and consistent solid levels are best.

 

Tip: During the site review it is best to do a background sound analysis. Listen to the room with no one talking and discover the Room tone content (motors, blower, air handling, floor scuffing form other areas, car or truck rumble, airport notice) some may be able to be turned off. Remember there is a limit to what you can correct in post. If you have any question it is best to bring a set of mics with you and test for your ability to get solid sound.

 

Tip: don’t forget about getting room tone. At sometime in every location, ask for room tone. That means every one shuts up and record the ambient location sound. This works best if you record enough to cover the entire scene (scene is 2 minutes, so 2 ½ minutes of room tone. Your editor will bless you as will anyone doing sound post. This sound is used to mask the cut effect of room tone during editing. When laid down under the completed scene and leveled out, it will help make the cuts invisible from an audio stand point.

 

Microphones:

 

Use a boom mic when ever possible. Note the more directional will sound a little deeper (base) so pick the mic that best suits your recording situation.

 

Keep the tip of the directional mic pointed towards the mouth.

 

The less you have to push the mic/mixer/recorder the more solid the sounds i.e. keep the mic as close to the source as you can.

 

Wireless Body mics should only be used when you have to. Some Mixers like to back them up (when ever possible) with a good boom anyway.

 

Always use the best balanced cable you can, and be very careful about handling during a take. Cable noise is a great way to ruin a good performance.

 

 

The following site has some great links to help you understand all of the aspects of location sound in much more detail:

 

http://www.equipmentemporium.com/Articles/Articles%20about%20Prod%20Sound.htm

 

 

 

 

 

Insights into Lighting Safety

 

Safety: Film sets of any size are accidents waiting to happen to those in too much of a hurry and not focused on safety. When dealing with Power know what you are doing or hire someone who does. The information below is for perspective, not a replacement for properly trained personnel

Lighting set up and cabling

Match the amount of lamp(s) wattage with the size of the cable and the available power at the wall source. This not a guessing game you need to understand these basics or risk a fire. A short or over load can turn an entire wall in to flames right now or simmer unseen and turn into a blaze later.

Note 1: The Ratings below are “safe use” not real ratings.

Most house circuits are 15amp (except kitchen 20amps) or 1500wt and 2000wts.  Most business are 20 amps. Keep in mind that there are normally several wall receptacles per circuit – Check the fuse box and trace the circuits if you are using lots of large lights and are unsure. Better yet hire a certified electrician/Gaffer

 

You should be using #12 cable (20 amps) or (3) 500wt lights

Other sizes, but watch wt demand:

         #14 will handle 15 amps or (2) 500 wt lights

          #16 normal lamp cord is good for 10 amps or (1) 500wt

 

Note 2: The best cable is #12 rubberized with stress relief plug and receptacle under 50 ft long.

Note 3: Long run cables will put more electrical stress on the cable and circuit.

Note 4: Always under use the power never push its limits

Note 5: Never use ungrounded cables, use ground lifts only when you have no other choice and use them correctly.

 

            Keep your cables trimmed and neat: Let some cable hang at the wall with the extra (never use lengths that do not give you extra) lightly rolled at the base of the light stand ready to move or teak the lights position. Keep them from forming  tipping hazards, bag or tape strap them at doorways and walk ways. Run the cable under one of the legs of the stand an up the stand using a cable safety tie at the light yoke.

 

Watch the heat: Always work with gloves, Let lights cool on stands, never set hot lights on any surface that will melt, burn or scorch. When working with gels always place them so that air can draft between the gel and the lamp keeping the gel as far (arched away) from the lamp as possible.

 

Wet Conditions: When working outdoors or near wet conditions always, use GFI plugs or connectors. It is the law and common sense. And use lights that are rated for outdoor use, especially if weather it threating.

 

At the wrap: take your time and carefully put things away neatly (use cable ties) they will last longer. Look for frayed cables and cracked plugs and repair or replace any you find.

If you have a question or  tip to share, contact Roger at rschut8293@aol.com (and memo it, insights and tips)

What's the big deal with Color Temp?

Note: Color temp figures and conversions were culled from several sources, including  Rosco International

http://www.rosco.com/  

First, Color temp is a bigger deal with film than video, because the film emulsion must match the color temp of the light (indoor/Tungsten 3200k, or  average Outdoor 5,600k*). If it does not then filters have to be added to the camera or the lights to create the matchVideo does not suffer the color temp emulsion problem but does need to be shot under a single color temp for good color. This is achieved by”

All light sources have the same color temp

Manually white balancing your camera to that source

 

In video if we do not or cannot use the same sources (color temp) then we have to color correct some to match others by using filters on those lights

CTB- correct 3200k to 5,600**

CTO- corrects 6500k to 3200**

CTG – corrects some (greenish) fluorescents to 3,200

 

Color Temp/WB Tip:

If you HAVE to shoot in mixed color temps, then make sure the subject’s face is in the highest temp and WB to that area- the rest will just look warmer and not be as distracting as the reverse.

 

WB Tip:

Always manually WB with the iris set to proper exposure and with the white object in the correct light not shadow.

 

Warming TIP:

Because the white balancing process establishes “white” (using a white card or object in front of the lens to set the balance) under the current light for the camera, we can fool the camera into warming up the picture by using a warm card or Light blue card instead of something white.  These gives us the same results as if we did a normal white balance and then added an 812 or warming filter to the lens of the camera. (Skin tones appear richer) Other colors produce other effects (most not great looking but fun to experiment with) I have found that rather than pay $35. for the card that a piece of foundation sealer foam (comes in a role from the Home Depot) for $3.00 does the job.

 

Bulb Tip:

In the past you needed to Gel correct Tungsten or Florescent lights to Outdoor temp (5,600k) or use an HMI light. Gelling is cumbersome to say the least and often not fully accurate unless using Temp meter and having the correct combination of CT gells. HMIs are very expensive. Today if you can use diffused light that does not need a long throw then looking into the new Compact Spiral Florescent bulbs rated at 5,500k could well be worth your effort. These bulbs come in 3,200 and other temps as well. They are great for softbox or other applications where the light is close to the talent as they do not produce a lot of heat. Check out   www.topbulbs.com

 

*Sunlight alone, Color temp covers a wide range

 Sunrise or sunset 2,000k

One hour after sunrise 3,500k

Early morning/late afternoon 4,300k

Average Noon 5,400k

Mid summer 5,800k

Daylight mix

Over cast 6,000k

Average summer day 6,500k

Light summer shade 7,100k

Average summer shade 8,000k

Partly cloudy 8,000k-10, 000k

Summer/winter skylight 9,500k- 30,000k

 

** Color Temperature Blue (CTB) correction gels are calibrated to raise color temperature to 5500 Kelvin (Daylight).
· They are available in several strengths and are primarily used to correct Tungsten (3200 Kelvin)to Daylight.

 CTB (Full Blue) raises 3200 Kelvin to 5500 Kelvin.
3/4 CTB (Three-Quarter Blue) raises 4700K to 5500K.
1/2 CTB (Half Blue) raises 4100K to 5500K.
1/3 CTB (Third Blue) raises 3800K to 5500K.
1/4 CTB (Quarter Blue) raises 3500K to 5500K.
1/8 CTB (Eighth Blue) raises 3300K to 5500K.

** Color Temperature Orange (CTO) corrects from 6500k

 CTO Full converts Daylight 6500k to Tungsten 3200k

 ¾ CTO converts Daylight 6500k to Tungsten 3600k

 ½ CTO  converts Daylight 6500k to Tungsten 3800k

 ¼ CTO converts Daylight 6500k to Tungsten 4600k

 1/8 CTO Converts Daylight 6500 to Tungsten 5500k

If you have a question or  tip to share, contact Roger at rschut8293@aol.com (and memo it, insights and tips)

Organization of tapes

 

You can never be too organized. With that in mind here are few things to consider buying and doing.

 

DV tape organization starts with labeling all tapes:

Either pre- label the new tapes for specific use (project and tape number). If your printing is not great you may consider using your computer and some Avery type Return Address labels, you can even add your logo. I use Print Master Gold for most of my Labels/Inserts/Covers, but there are a lot of good programs out there. PS, remember you should be stripping your new tapes first.

 

It ends with protecting the tape in at least its case. Even better is to use either the MINI DV Album case or Zippered Case. A company called Bryco makes both.

 

http://www.brycoproducts.com/newproducts1.html

 

I have found that the covered  “Space Maker” office organizer boxes work well too; they just do not enclose each cassette. But will hold at least 14 DV tapes

 

If used properly they help to hold cassettes in the proper storage position as well as keeping them enclosed.  Even though DV cassettes are light, like all cassettes need to be stored so that they tape hangs from the cassette hubs. Tapes that lay flat over long periods of time can start to see crushing or ruffling of the tape edges and compromises their ability to play.

 

Organization during the shoot: If you are using the above album or pouches then pre packing the tapes in these will help during production. No matter what, you need to have a specific container for your new and now recorded tapes. PS This really impresses clients who may be watching you.

 

Bonus Tip 1: When you pull a tape from the camera or recorder during shoot, it is a good idea to put in the tape case HUB UP (upside down) this way you can tell at a glance which tapes you have used.

 

Bonus Tip 2: If not using special cases to hold your tapes during a shoot, be sure to pack some small rubber bands or even better “Pony Tail” elastic Hair ties. They are about 2 inches in circumference and are easy to work with, I usually carry a bag in my Gaff kit as well, they are great for organizing cables, super for cable stress relief, and lots of other set related needs.

 

If you have a question or tip to share, contact Roger at rschut8293@aol.com (and memo it, insights and tips)

Insights and Tips on the Role of a DP

So Mr. DP, give us some insight into what you do.?

 

Well, although my role may change shape (edging into the Director, Gaffer or AC roles) as I work with different types and sizes of production groups, my main job is to provide a consistent “look” to all my projects. The look of each project is not my look but rather the “look” of the director in corporation with the production designer and their team. Sometimes I just direct (working with the Gaffer and his team) the set up of this look, as seen through the lens, and at other times, I also am behind the camera lens as well.

 

1. The biggest question facing me as a DP or Cinematographer is how to achieve a specific look? So here is the decision-making matrix I use.

 

1. Is this a Motivated or Artistic look? And as such

                                                               i.      Is this a High Key or Low Key look? (Scene by scene)

                                                             ii.      Is this a hard edge or soft edge look? (Scene by scene)

                                                            iii.      Is color (light or other) part of the over all look?

                                                           iv.      How is light expected to be used to help bring “eye trace”

                                                             v.      How is light expected to be used to light the entire space in front of the lens? Some folks call that the Mise en scene space.

2. Next, I need to work with the director to make Over Heads

of each of the scenes to:

                                                               i.      Determine Camera, and Talent placement and movement

                                                             ii.      Determine the type of camera support equipment I will need

                                                            iii.      Determine type of lens and filtration I will need

                                                           iv.      Determine the type, size, and filtration for and of my lights

3. Work with Camera department to obtain, stage and set up the needed Camera related materials for each scene and location
4. Work with the Lighting/Gaffing department to supply, stage and set up the needed equipment as per the overheads
5. Work with (adjust or tweak) the camera and lights as set up for each scene and shot to achieve “the look”

 

Outside of “the look” the actual camera operator (me or the 1st AC) will apply the basic rules of framing and movement helping the director bring focus to both the content as well as the spaces with-in the Mise en scene, while keeping in mind each shot’s use in the final edit of the scene. I truly understand that if I do not shoot it the editor cannot use it