April 2008

 

The technical bit:
Our previous lamp kit was suitable for lighting close-ups and full length persons on the greenscreen and white cyc – our new additional lamps enable a wider area of coverage utilising brighter soft and hard light which allows a greater image depth of field (for more flexible focusing) – this means shots where the talent are walking around the set can be done without needing to hire extra lamps. We've also increased our dimmer facilities to make lamp control easier.

We’ve increased our 2,000W “blonde” lamps and also purchased 650W Frensel “Plus” lamps which can take 650W, 500W or 300W bulbs yet still keep a lamp size which isn’t too big and are perfect for hanging from the ceiling grid.

The “blondes” are great for bouncing off 8’x4’ poly boards to give large shadowless soft sources and the extra punch of the 650W versus 300/500W come into their own when colour gels are placed in front.

We looked at florescent KinoFlos but we felt it was a priority to purchase more tungsten lamps. KinoFlos are great in tight sets with low illumination but don’t have a great light output. They need to be close to the subject to be useful and can get in the way. Tungsten bounced off poly boards can give you larger soft sources and more light but requires more space to control where the light falls. Since there is plenty of space in our studio for the type of shoots we cater for – it made most sense to go the tungsten route. You can do wider shots when you use large bright bounced tungsten sources since they don’t have to be as close as KinoFlos do.

We don’t presume to know every type of lighting you may want and we would recommend Cine Electric as a great source of all the other lighting equipment you may need.

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Frensel – a type of lens for projecting light evenly, also used in lighthouse lamps
HMI – a high power type of light often used to simulate daylight
Dimmer – used for altering the power level into a lamphead and so raising or lowering the level of light

 

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