Moonlight Video Scene
 

Can you shoot a reasonable video in moonlight?
Can a VX2100 or GL2 shoot decent video in moonilght?

The reason I ask, is that I've been woorking on a screenplay where a very important scene takes place in the desert on a lonely stretch of highway, and the only lights that will be available to keep it beleiveable are car headlights, moonlight, a flourescent handheld light and starlight.

One of my concerns is finding a camera that will shoot under those lighting conditions within reason.

Unless you boost the gain signficantly which is not ideal, no camera I know of will produce a satisfactory image in moonlight. At best you will have very slight separation in the shadow areas.

What if you found a stretch of highway that had a billboard with its own lights on it? The car could "conveniently" stop nearby--this would perhaps give you some more separation in the background.

The headlights can be used creatively if you use bounce cards to redirect them. There are also inexpensive spotlights that power off the cigarette lighter available at auto shops; with some diffusion and/or gelling, this could make a nice accent light or backlight.


The moonlight effect that we are used to for night exteriors is the result of 18,000 watt HMI's (or their equivalent) high up in Condor cranes up to half a mile away. It takes a lot of firepower to recreate moonlight!

Re: Moonlight Video Scene
 

<<<-- Originally posted by Arthur John : Can you shoot a reasonable video in moonlight?
Can a VX2100 or GL2 shoot decent video in moonilght?

The reason I ask, is that I've been woorking on a screenplay where a very important scene takes place in the desert on a lonely stretch of highway, and the only lights that will be available to keep it beleiveable are car headlights, moonlight, a flourescent handheld light and starlight.

One of my concerns is finding a camera that will shoot under those lighting conditions within reason. -->>>

Real moonlight is out of the question.

You can do day for night and get away with it, particularly if there are no modern references around.

One thing you will have to pick is if you want moonlight to be white or blue. You can fake that on the camera by doing white balance on white or yellowish cards.

The next thing is the car headlights. If you balance for them to come out white, the rest will be quite blue. If you balance for the day light you will have the headlights more yellow. You can pick a car with xenon headlights, which should help balance the whole thing.

What comes next is the headlights output, which should be minimum in daylight. Xenons will be better there too, but those headlights won't light anything, just show they are on.

You should use a grad filter to keep skies dark.

To get a real headlight output you will have to shoot those car scenes in the "magic hour", where daylight starts going away but still prints. On such situation the headlights will print strong and light where they pass by. The only problem is you will have little time to shoot those shots. Planning them should be essential.

Of course that lighting it all would be a second choice, but that is certainly very expensive.

There's a third choice, which is shooting in black and white and adding a blue tint in postproduction. That would solve the light color problem.

There are a lot of good looking choices you can use.


Carlos

Sony Mini DV camera lighting
 

Hello all!

I am looking for help with my Sony DCR-TRV33. When using the camcorder, the image looks great on the LCD screen, but when I stream the camera or tape to my computer through USB, the picture is very dark. I just put on a video light, but the image is still considerably darker than the LCD. Is this a common problem with the Sony? Is there a simple solution? Thanks for reading.

Bryan

It's a common "problem" with any camera being fed into a computer. Remember the LCD on the camera can be set to a brighter level AND the computer monitor is rarely set to a color bar standard so the image will almost always appear darker. That doesn't mean it is or that your exposure is wrong just that the screen should NEVER to used to adjust color or brightness or contrast levels.
Check your footage on a regular NTSC monitor OR at the very least a TV that has been set to color bars and has the proper brightness&Contrast. I think you'll see a hugh difference.
Happy Holidays,
Don

Selling my Lowel DVCreator 55 Kit
 

Hey guys--I just finished shooting a documentary and will be selling my Lowel DV Creator 55 kit (approx. 1300 new). I've been shooting since June and the kit has seen little use and includes all lamps for the lights. Does anyone have some idea how much I should ask for for this kit? Everything is literally in new condition, and I have all gels etc., so I'm hoping the value doesn't depreciate too much. Anyways, didn't find anything like this on ebay so I thought someone on these board might have an idea of a fair price. Thanks!

Peter

Hey, email me with a price when you have one. I'm in the market for some lights...think they're good for a short film?

Murph

"Soft" onboard light for the PDX 10
 

I am thinking about low-light, and how to balance the low lux of the PDX 10 with an onboard light. What I am looking for is an onboard light which following characteristics:

It must have a broad or wide light as to avoid spot light feeling.
It must be soft enough not to disturb the people.

I want to use the onboard light at occasions where PDX 10 is not capable to film in the current light situation. I just want it to light up smoothly the scene where the area is at most 5 meters.

Any recommendations (light kit, watt and accessories)?

Lambis

Did you know that Sony has a whole range of onboard lights
for their camera's? See this page

Rob Thanks for the link. I know Sony's lights but I dont know what are the characteristics off them and if they fit my needs.

Becauce I newer have use a Onboard light in a DV Camera i dont know what is the right one.

I most need a "light" that is soft and wide.
I have see the Frezzolini MFIC-30 30v/80w Dimmer Mini-Fill On-Camera Light that maybe is O.K.

lambis

LED article in NY Times
 

I heard about white led's last year when I was shopping for a flashlight. If they can ever generate a D56 or D65 white, it will be equivalent to achieving the holy grail in lighting. Never mind the cost, to a movie production. The compactness of the light and its low heat generation will be the selling points. It reminds me of how the flourescent light was introduced to film, in the movie Barfly. Find a niche application, and moviemakers will beat a path to your door.

When recording in nighttime...
 

When you record something in nighttime, is it ever possible to get a good picture without additional or studio lighting? I plan to shoot some scenes for a short movie outside in the nighttime, and the only lights are those of the the outside lights either on buildings or on poles and I want to get at least a not-too-grainy picture... I have a GL2, and I suppose it isn't too good for lowlighting compared to the Sony's VX2k1..

Unfortunately, you are out of luck in most cases.

Nobody shoots serious, other than documentary footage without additional lights when outside at night with insufficient light. What you have described very probably falls in the insufficient category.

All you can do is expose for faces and they are probably going to be grainy and maybe off-color depending on the light source.

Chimera on-camera softbox mount question
 

I want to mount a Chimera on camera softbox (with Frezzi dimmer mini-fill) on a Bogen BO3085 boom arm. Can someone recommend a good quality bracket that would enable me to have some flexibility in positioning the softbox? I want this setup so I can get the softbox very close to the subject, and I would like to be able to tilt it anydirection. I would also like the light and softbox to be perpendicular to the pole. Is a hanging C-clamp the way to go here? The mount on the speed ring seems to screw pretty firmly onto the regular pole mount on my Bogen 3086 pole. What is that 3/8" of 5/8"? I can't seem to find any literature that tells me, or what the Frezzi mount is either. It is designed for a smaller post, still seems to work on the Bogen stand.

I do believe
 

a standerd Bogen Umbrella clamp will get you all hooked up.

2905 I think

about $20

Just the thing, thanks.

NRG 1000w heads
 

Has anyone used these heads?

They look as a reasonable alternative to Lowel DP light heads, which also take different lamps and are my first choice for now for a versatile open quartz.

Any opinions for or against?


Carlos

Lighting panic.
 

Hey y'all,
I'm using the agdvx100 for documentary in the 24p mode. But it eats up light like a sixteen year old at a buffet. So I'm looking at lights, but alas, they are so expensive.

Here's my questions:
I want a xlr connectable light with a dimmer, it would seem. Can I get away with merely 50 Watts such as with the Bescor MPL-645, 75 watts like the Frezzolini, or do I need the whole 100? I want to be able to do interviews in lit rooms that are regular bright but may need a little extra push and for on location stuff when I can only get away with one or two lights.

Secondly, I've never bought one of these lights before and am debating between several companies: besides bescor, and frezzolini, there's cool lux and lowel. Do people have any warnings or ideas? Are they basically all equally good quality-wise?

Lastly, has anyone tried that new cool lux thing that is both soft light and hard light? The sl3000, is it all that or a cheap piece of junk?

I've been reading all the right videography books and asking professional videographers at my school equipment questions and there answers have been less than asatisfying, please help.
Thanks, Sam.

Q regarding the backlight in 3 point system when shooting indoors
 

Ok, pretty new to lighting. Picked up a copy of John Jackman's lighting for digital video and telelvision, read it cover to cover.

I have the impression that back light should be high up and either directed at the back of the actors or at the wall itself, seperating the two from each other. If there are no light on the sealing which can be aimed, and you don't want to have a tall light stand in the frame, how can this be achieved?

A lamp in the background illuminates both the wall and the back of the person equally - is this sufficient?

Ali,
There are no hard rules when it comes to lighting. Your eyes determine what's "right" in any situation.

The 3-point lighting configuration was derived principally from still portraiture methods. That back light, sometimes called a "hair light" or "rim light", is indeed normally placed high and is aimed at the subject's back. The goal is to cast a rim of highlight around the subject's head and shoulders. This is intended to have a defining effect and to help to visually separate the subject from the background.

A background light is normally a separate instrument dedicated to dropping lower-level light onto a background surface. Background lights are often placed nearly parallel to the background surface such that they skim it. They are also often little more than scrimmed-down spotlights (fresnels) that cast dollops of light on something(s) interesting in the background.

Again, though, your eye and the specific scene need to determine what looks right to you. Learn, but don't be a slave to, dogma where lighting is concerned.

I hope this is helpful.

Depending on the look you want, it may be possible to have the hairlight just to the side of the frame, avoiding shooting the stand. Or you can get a boom stand--Manfrotto makes a decently priced one.

<<<-- Originally posted by Sam Trobot : Hey y'all,
I'm using the agdvx100 for documentary in the 24p mode. But it eats up light like a sixteen year old at a buffet. So I'm looking at lights, but alas, they are so expensive. >>>

Cheap home depot work lights aren't that expensive. Real lights with
pro quality are very expensive. There are reasons.

What to buy? It ALL depends on what you want to accomplish and
the level you would like to attain.

<<I want to be able to do interviews in lit rooms that are regular bright but may need a little extra push and for on location stuff when I can only get away with one or two lights.>>

On location? Outside . . . inside? There's a world of difference.
Outside you need either very powerful halogen (~3200 degree color temp)
with "booster blue" gel to bump the color temp up to daylight (5600 degrees)
or HMIs. HMI's are the best by far for this application, but way beyond the
normal human's budget.

Inside lighting is easier when using today's DV camcorders, because of
their low light abilities. You don't need as much power. However,
depending on what you want to accomplish. A good kit of lights
(I'd recommend a couple of soft boxes like the Lowel RIFA 88s)
and a Fresnel or two would be a good _start_. Altman makes
some nice durable fresnels of various sizes. Arri and Desisti make
great but pricey stuff. There are TONs of posts about all flavors
somewhere in this site.

A 25, 50 or 100 watt "on camera" light works well for close up interviews
*inside*, but won't win you any awards. You'll get a "live at 5" news
gathering look. So, it depends on what level you are going for.

<<<Secondly, I've never bought one of these lights before and am debating between several companies: besides bescor, and frezzolini, there's cool lux and lowel. Do people have any warnings or ideas? Are they basically all equally good quality-wise? >>>

At NAB a few years ago I scored one of the Cool Lux U3s. It works and
does the job for close up, "the light is in your face" videos. I think some
of the others you mention are brighter and may do a better job of
covering a larger area (like a wedding dance etc.)

I have no experience with that other cool lux you mention.

bmx video
 

I've been working on a bmx movie and i've found that recentely we've been going out at night to shoot/ride.

what i was wondering about was if there were any cheap, portable lights i could take around with me that i wouldn't have to put on my camera.

Power is going to be your biggest problem. I've shot snowboarding at night using work lights which worked well but we had a portable generator we borrowed from a carpenter mate.

Matthews gone?
 

Anyone know why http://www.matthewsgrip.com/ is no longer online? Did they go belly up?

I was thinking about investing in a Road Rags kit, but if they're out of business....

Hi John,
Try http://www.msegrip.com
Best,
Helen
PS I'll do my best to keep them in business!

Thanks, Helen!

Nice new web site, too.

Need a basic light kit
 

I am in the market for a basic light kit to use for lighting a standard portrait setup for interviews, both in studio and on location, and also to use as fill lights on location jobs.

I have seen some kits with combinations of 500 Watt or 300 W lights, but isn't this too much light for my need?

What about the Dedolight's, they have only 150 Watts and comes with a built in dimmer. And they are very compact and lightweight.

Which system (type/watts) can you recommend ?

If you want open face lights you might look at Redheads. I think they're made by Ianirio (not sure about the spellling). They take up to 1000 watt lamps.
You can also get a nice 3-light set from Arri or Mole-Richardson. I'd say two 650s and a 300 would be nice. You can get smaller lamps for the 650s--I have a set of 5 Altman fresnels and use mostly 500 watt lamps in them. Lowel also makes a compact set of 3 Omni lights, in a case with stands and barn doors and scrims. Omnis go up to 600 watt. I use 450s in mine. You can also get 200 watt DC lamps and run one off a cigaret lighter in a car.
I think 150watt lights would be too little for normal 3-point lighting, except maybe for a backlight.

Wall colour...
 

'lo

This my first post, but it's something I've been thinking about for a while...

Filming DV indoors often looks bad against white walls - what's the best way of dealing with this irksome problem? Coloured gels on backlighting? Painting the walls a neutral shade?

Which strategies have proved the most successful with the film-makers on this board?

Any help would be appreciated...tia.

-Mike D-

Welcome Mike!

Well I'm sure that you'll get many ideas in response.

Indeed, a white background, such as a wall, looks pretty flat and dull if it's not treated in some way. I guess the first suggestion I'll offer is to try not to shoot in front of a blank white wall.

But if that's not possible you'll want to work towards visually pulling your subject off of that wall. Use a rim light on your subject. Try to provide generous separation between the subject and the wall. Use a patterned gobo with a background light to project some soft pattern across the wall, with or without a colored gel.

Which video light?
 

Hi all

In the market for a video light and from looking at some of the posts here I have decided that a Sony model might be the best option for me as I also own a TRV22 and I can use it's batteries to power the light when using my XL1s.

The model I was going for was the HVL20DW2.CE7 but I also noticed a HVL20DM.CE7. They both "look" identical and are the same price.

Can anybody tell me what the difference is between these lights and why I should choose one over the other?

Thanks so much...
Donie

Ok, I think I figured it out, the HVL20DM.CE7 light can be powered by the M-Series batteries which my Sony uses. I have a NP-QM91 battery for that.

It also says on amazon.co.uk that the light is for camcorders not equipped with Accessory Shoe. I guess the Sony hot shoe would not be compatible with the Canon hot-shoe? Is that correct? So I presume this is the light that would suit the Xl1s?

The other light, the HVL20DW2.CE7 is powered by the L-Series batteries so I guess they are not compatible with my battery? Plus, they are compatible with the Sony hot-shoe.

Thanks in advance for any other input.
Donie

Question on hanging light
 

We're shooting in a room with removable acoustic tiles set in a metal grid like they have in offices and I want to hang a smallish fresnel using a ceiling scissors clamp. Can anyone tell me how much weight those things can support? I'm looking at hanging a 300W or 650W Arri. The 300W weighs 6.5 lbs and the 650W weighs 7.2 lbs. Is that too much weight?

Marco,

As I'm writing this, I'm looking at an Arri 650 light hanging from the ceiling in the office in which I work. There are 4 lights hanging from our ceiling grid here, 2 of them on downrods. If the grid was hung properly, you should have no problem.

Bill

Cool. Thanks.

EZ Flag light control
 

Nice little french flags with clamp, stud or shoe mounts with 3 lengths to choose from.

www.ezprompter.com

lighting in nz
 

Hi there,

I'm trying to get a basic lighting kit and I'm in auckland , NZ. Anyone know where to go, or if i order online which lights accept dual voltage?

Thanks in advance

Save your money. www.flarebuster.com
Starting at around 20 bucks.

Wayne Orr