Wayne Orr
January 16th, 2005, 06:12 PM
Before I get into my suggestions for a basic light kit, let me say that I would prefer that you rent as much as possible to try different types of lights and different manufacturers. Not everyone has the advantage of living close to a rental house, but for those of you that do, I strongly recommend making contact with your local lighting professional, and pick their brain. They are also a good place to find bargains when you are ready to buy. Almost all rental houses require a certificate of insurance, but often they will roll a rider into the rental agreement for an additional fee, typically 10% of the total rental package. Also, rental houses usually rent on a three-day week. You pay for three days, and you keep the package for a week. A couple of Los Angeles rental houses who are friendly to dv shooters are Hollywood Studio Rentals in Burbank http://www.hollywoodstudiorentals.com/ and Wooden Nickle in North Hollywood http://www.woodennickellighting.com/
Here are some ideas for building a basic light kit that uses mostly professional grade gear that you will still be using for years to come when your skills have improved. The idea is to buy equipment that is professional quality without breaking the bank, versus acquiring a lot of low-end gear that won't hold up over time just to save a few bucks. Remember, good quality lighting gear holds its value and delivers professional results. This is not a kit that fits easily in one box to stow on a plane.
Small Photoflex SilverDome softbox $109.95
Small Photoflex Softbox grid $ 50.00 ??
Photoflex speed ring for Tota $ 80.00 ??
Lowel Tota light $109.95
LTM Pepper 420 w/scrims, barndoors $350??
2-Avenger A630B light stand @ $ 92.00= $184.00
Matthews C+ Stand w/40" arm $170.00
Home Depot 300w dimmer $ 20.00
3-Home Depot a/c extention cables $ 30.00
Rosco Cinegel Sampler kit $ 35.00
3 sand bags $60.00
2 sheets of foamcore, wht/blk @$7 =$14
This is just an example. You can tweak this list to your specific needs. Add or subtract as you see fit, for example:
Instead of the Photoflex softbox, I also have recommended the JTL Everlight Kit. You get three 500w, softbox lights with stands (that are way better than that other company's), and it all goes in a nylon carry case for only $500.00. This is not the quality of the Photoflex softbox, but you get 1500 watts of lighting for a modest cost. Try this: take one of the lights and its softbox out of the kit and leave it at home for a back-up, and replace it in the kit with the LTM Pepper 420, which will mount nicely on the JTL stand. Now, for only $850.00 you have a great three-light kit for doing interviews that travels in one soft case.
You can see stills from a shoot I did with this kit at http://www.digitalprods.com/LSmontage The JTL Everlight Kit is available at Adorama, on e-bay, and at http://www.photography-lighting.com/JTL-Everlights-Lighting.html More info on the kit can be found be searching the posts here.
Other goodies
Flexfill. Any one of the number of highly portable reflectors on the market. You can find these in various colors (the gold and white are the most popular) and sizes. You may want to add a holder to mount the flexfill to a stand. Or, use your C-stand. You can also purchase hard reflectors for more serious output. The shiny side will bounce sunlight into a shady background, or can be used as a key light outdoors when you need serious output but cannot afford an HMI. You can soften the hard light by punching it through a sheet of 216 diffusion, or similar.
Any quality professional light you can add to your collection. Usually you will want a fresnel because they are more useful than open faced lamps. You simply cannot achieve the control over the light using open face units. This is one of my major problems with the Lowel kits that rely on Totas, Omnis and DPs. These are all open face units. Look for names like Arri, Mole, LTM and others for quality. Limit your wattage to 1000w. Fortunately, today's cameras don't require a lot of light, so don't go for the big guns. Firing up a couple of 1K's in a small room will generate a lot of heat, and possibly trip a breaker. But sometimes you need the output, especially if you are correcting a 3200K lamp to daylight. You can easily lose over half your output with a daylight color correcting gel (CTB). Conversely, don't spend a lot of money on low output lights. A 150w fresnel is cute, but add a gel and it soon becomes worthless. It's easy to knock down the output of a higher wattage lamp by adding scrims.
ETC Source Four Jr. Here is the secret weapon of professional shooters doing lots of interviews. This is an ellipsoidal instrument that allows you to project "break-up" patterns on backgrounds, which is a great way to add visual interest to backgrounds with very little work. You use this light instead of setting up a seperate light shooting through a gobo on your background. There are numerous patterns you can purchase to use with the Source Four. Sometimes you will want to soft focus the patterns on the background, other times you may want to use something like "stars" to create a special look on a smooth background wall. I like the 50 degree lens, but they also have a zoom lens for more money. The Source Four light with a standard U-ground connector will run about $250.00. Available with 375 and 500w bulbs. You will need a beefy light stand to support the instrument (see below). It can also me used as a cheap follow spot. http://www.etcconnect.com/products/fixtures.asp
Light stands and C-stands are available from a variety of retailers and on e-bay. C-stands are the Swiss army knife of the motion picture industry. They work for everything from holding flags and nets, to supporting background drops, to hanging lights, to holding mics in place, to holding bounce cards (that foamcore above). But the down side is they don't transport easily other than stacking them in a truck or van. Besides e-bay, there are many companies selling used grip equipment, such as Wooden Nickle http://www.woodennickellighting.com/ Also, Norm's in North Hollywood makes a good line of economy priced grip equipment. Unfortunately, I don't believe they have a web site, but they probably have a catalogue. Norm's Studio Equipment: 818-766-6676
Oodles of odds and ends. C-47s are wood clothes pins and the cheapest item on the list. Use them for everything from clipping diffusion to barndoors, to pulling out red-hot scrims from your lights. Buy em by the bag. Maffers and grip clips. China lanterns. Gaffer tape. Work gloves. Large piece of duvetyne. The list goes on. Items that are constantly being used up are called "expendables."
Need a case to carry the gear? Check out a SKB golf club case at Nevada Bob's or other discount golf supply store. It's a rigid ABS plastic roller case with a ton of space; it doesn't look like an expensive tripod case (like one with "Sachtler" or "Vinten" emblazoned on the side); and airlines regularly handle golf club cases. In fact, AA exempts golf clubs from the domestic 50 lb limit on checked bags. Pack whatever you want in it, but the C-stands won't fit, of course. Use extra packing foam to snug everything up. costs around $120.00
Exotic lighting: HMI and Kino Flos. Now we are talking some serious money for real high end gear. The HMI lights are balanced to daylight, and are easily gelled to match 3200K light. They provide the output necessary to shoot in daylight, while remaining cool when used indoors. Kino Flo broke new ground with stable fluorescent lighting without the green spike associated with fluorescents, and the ability to dim the units. They come in a variety of sizes and applications. Work great for lighting car interiors.
This list is by no means complete, but it has good variety and comes from years of experience. I welcome and encourage any additions from the shooters out there. Hopefully we can come up with a consensus on what is a "good starter light kit."
Wayne Orr, SOC
Here are some ideas for building a basic light kit that uses mostly professional grade gear that you will still be using for years to come when your skills have improved. The idea is to buy equipment that is professional quality without breaking the bank, versus acquiring a lot of low-end gear that won't hold up over time just to save a few bucks. Remember, good quality lighting gear holds its value and delivers professional results. This is not a kit that fits easily in one box to stow on a plane.
Small Photoflex SilverDome softbox $109.95
Small Photoflex Softbox grid $ 50.00 ??
Photoflex speed ring for Tota $ 80.00 ??
Lowel Tota light $109.95
LTM Pepper 420 w/scrims, barndoors $350??
2-Avenger A630B light stand @ $ 92.00= $184.00
Matthews C+ Stand w/40" arm $170.00
Home Depot 300w dimmer $ 20.00
3-Home Depot a/c extention cables $ 30.00
Rosco Cinegel Sampler kit $ 35.00
3 sand bags $60.00
2 sheets of foamcore, wht/blk @$7 =$14
This is just an example. You can tweak this list to your specific needs. Add or subtract as you see fit, for example:
Instead of the Photoflex softbox, I also have recommended the JTL Everlight Kit. You get three 500w, softbox lights with stands (that are way better than that other company's), and it all goes in a nylon carry case for only $500.00. This is not the quality of the Photoflex softbox, but you get 1500 watts of lighting for a modest cost. Try this: take one of the lights and its softbox out of the kit and leave it at home for a back-up, and replace it in the kit with the LTM Pepper 420, which will mount nicely on the JTL stand. Now, for only $850.00 you have a great three-light kit for doing interviews that travels in one soft case.
You can see stills from a shoot I did with this kit at http://www.digitalprods.com/LSmontage The JTL Everlight Kit is available at Adorama, on e-bay, and at http://www.photography-lighting.com/JTL-Everlights-Lighting.html More info on the kit can be found be searching the posts here.
Other goodies
Flexfill. Any one of the number of highly portable reflectors on the market. You can find these in various colors (the gold and white are the most popular) and sizes. You may want to add a holder to mount the flexfill to a stand. Or, use your C-stand. You can also purchase hard reflectors for more serious output. The shiny side will bounce sunlight into a shady background, or can be used as a key light outdoors when you need serious output but cannot afford an HMI. You can soften the hard light by punching it through a sheet of 216 diffusion, or similar.
Any quality professional light you can add to your collection. Usually you will want a fresnel because they are more useful than open faced lamps. You simply cannot achieve the control over the light using open face units. This is one of my major problems with the Lowel kits that rely on Totas, Omnis and DPs. These are all open face units. Look for names like Arri, Mole, LTM and others for quality. Limit your wattage to 1000w. Fortunately, today's cameras don't require a lot of light, so don't go for the big guns. Firing up a couple of 1K's in a small room will generate a lot of heat, and possibly trip a breaker. But sometimes you need the output, especially if you are correcting a 3200K lamp to daylight. You can easily lose over half your output with a daylight color correcting gel (CTB). Conversely, don't spend a lot of money on low output lights. A 150w fresnel is cute, but add a gel and it soon becomes worthless. It's easy to knock down the output of a higher wattage lamp by adding scrims.
ETC Source Four Jr. Here is the secret weapon of professional shooters doing lots of interviews. This is an ellipsoidal instrument that allows you to project "break-up" patterns on backgrounds, which is a great way to add visual interest to backgrounds with very little work. You use this light instead of setting up a seperate light shooting through a gobo on your background. There are numerous patterns you can purchase to use with the Source Four. Sometimes you will want to soft focus the patterns on the background, other times you may want to use something like "stars" to create a special look on a smooth background wall. I like the 50 degree lens, but they also have a zoom lens for more money. The Source Four light with a standard U-ground connector will run about $250.00. Available with 375 and 500w bulbs. You will need a beefy light stand to support the instrument (see below). It can also me used as a cheap follow spot. http://www.etcconnect.com/products/fixtures.asp
Light stands and C-stands are available from a variety of retailers and on e-bay. C-stands are the Swiss army knife of the motion picture industry. They work for everything from holding flags and nets, to supporting background drops, to hanging lights, to holding mics in place, to holding bounce cards (that foamcore above). But the down side is they don't transport easily other than stacking them in a truck or van. Besides e-bay, there are many companies selling used grip equipment, such as Wooden Nickle http://www.woodennickellighting.com/ Also, Norm's in North Hollywood makes a good line of economy priced grip equipment. Unfortunately, I don't believe they have a web site, but they probably have a catalogue. Norm's Studio Equipment: 818-766-6676
Oodles of odds and ends. C-47s are wood clothes pins and the cheapest item on the list. Use them for everything from clipping diffusion to barndoors, to pulling out red-hot scrims from your lights. Buy em by the bag. Maffers and grip clips. China lanterns. Gaffer tape. Work gloves. Large piece of duvetyne. The list goes on. Items that are constantly being used up are called "expendables."
Need a case to carry the gear? Check out a SKB golf club case at Nevada Bob's or other discount golf supply store. It's a rigid ABS plastic roller case with a ton of space; it doesn't look like an expensive tripod case (like one with "Sachtler" or "Vinten" emblazoned on the side); and airlines regularly handle golf club cases. In fact, AA exempts golf clubs from the domestic 50 lb limit on checked bags. Pack whatever you want in it, but the C-stands won't fit, of course. Use extra packing foam to snug everything up. costs around $120.00
Exotic lighting: HMI and Kino Flos. Now we are talking some serious money for real high end gear. The HMI lights are balanced to daylight, and are easily gelled to match 3200K light. They provide the output necessary to shoot in daylight, while remaining cool when used indoors. Kino Flo broke new ground with stable fluorescent lighting without the green spike associated with fluorescents, and the ability to dim the units. They come in a variety of sizes and applications. Work great for lighting car interiors.
This list is by no means complete, but it has good variety and comes from years of experience. I welcome and encourage any additions from the shooters out there. Hopefully we can come up with a consensus on what is a "good starter light kit."
Wayne Orr, SOC