sweet lighting rig

[Zakaree Sandberg]

http://www.youtube.com/watch?v=rDZFHfKKj1g

 

[Zakaree Sandberg]

officially building something like this

 

[Andrew Wilding]

I really don't get this thing. It seems like its more trouble then its worth, and i don't see how it does anything that couldn't be done simpler by other means. If you can use the sun rather than an hmi, I guess it would be great for places where there is no power or places where you cant rig lights for whatever reason. I dont know.

 

[Michael McVicar]

I love a lot about this concept and even parts of this could be intergrated into a standard setup. Wind and vibrations could be a real problem though.

 

[Zakaree Sandberg]

I really don't get this thing. It seems like its more trouble then its worth, and i don't see how it does anything that couldn't be done simpler by other means. If you can use the sun rather than an hmi, I guess it would be great for places where there is no power or places where you cant rig lights for whatever reason. I dont know.

with one hmi you could replace the need for 4 or 5..

you direct the hmi onto the pods.. and then each one of those can be reflected to wherever you want.. adding multiple beams of light anywhere you want.

 

[Andrew Wilding]

It seems like it would be easier to use a 4 or 5 source4 joker 800s, rather than one big Hmi with the beam split. Also, those reflectors seem fairly small, so you would still end up bouncing those into big frames likely. It all seems a bit... grippy.

 

[Zakaree Sandberg]

yah but 4 or 5 source4/jokers would still take up space in the action area.. this frees up a set for actors to move around or cameras without any obstacles

 

[Ryan Patrick O'Hara]

yah but 4 or 5 source4/jokers would still take up space in the action area.. this frees up a set for actors to move around or cameras without any obstacles

Awesome application, yes. but also, it makes all the sources coming from one direction. Something I generally don't do. So yes this is cool, but it is alot of work unless the production team has lots of experience doing it... and only in some applications.

 

[Pietro Impagliazzo]

All valid points, but when a scene asks for a more natural lighting or where you have abundant sun and light entrances this can be a nice tool to have in your set.

 

[DCC Erickson]

When I want to do this, I tape tin foil to the wall. Shiny side up, of course. Interesting idea, and the actors seem to like it.

 

[sander kamp]

In the video they say the system is also incredible efficient. They light an outdoor night scene almost entirely with one specially made 1.2k HMI.

Looks interesting to me.

 

[Brian Petrie]

I like the idea of freeing up space and using less lights. However, I don't think I'd ever want to use this as my only light source. Where I think it could work great would be to integrate it into your normal light kit. So it wouldn't be used all the time but maybe a 1/4-1/2 or more of your lighting each set up would be using these reflectors but I wouldn't want to rely solely on this system.

 

[Patrick Tresch]

I have shot with it and is really efficient fast and draws little power. no other system is so light efficient. Also strong for night exterior or when there is place to put the projector.

The most beautifull feature of this century has been shot with it. The white rubbon, by M Berger.

Pat

 

[Zakaree Sandberg]

I want this set up! but i have a feeling its $$$$

 

[David Battistella]

I really don't get this thing. It seems like its more trouble then its worth, and i don't see how it does anything that couldn't be done simpler by other means.

I think it's quite a good environmental solution and very efficient.

One other thing to consider is that it emulates the SUN, a natural light source) in every single situation. instead of being based on a KEY, BACK, FILL mentality, it forces us to use a single source effectively and creatively resulting in a much more natural and realistic kind of lighting.



David

 

[rod bradley]

The White Ribbon was certainly beautifully shot -- and illuminated, and this setup was clearly appropriate to the period feeling of the film.

I haven't personally seen every worthy film shot in this century, but I would rate The White Ribbon as one of the most beautiful I have seen, but I feel there are other very beautiful films as well. And, as always, more than one path up the mountain. This lighting method with some clear advantages.

 

[Zakaree Sandberg]

this ONE source and be reflected anywhere, to create the look of many sources, if that is what your after.

Being able to control all your lighting from one central location can really minimize shooting time and crew. I think this concept is really really cool.

You can work really quickly by just standing in one spot and moving 6 or 8 reflectors to light an entire scene..

does anyone have a cost on this system?

 

[Adam C Lubkin]

Thanks for posting this. I've been intrigued since seeing The Piano Teacher. I love his cinematography, and it seems like it makes for a more actor-friendly set.

 

[Tim Duran]

Z, interesting concept. Problem to me is the trade off of opening the room v. restricing movement due to shadows when actors cut across the light beam. The clips show minimal movement by talent. That probably works.

What's great about this clip is the new use for Mole Richardson sound boom. Sales should shoot up. I got my $19,000 boom for $500. Now it's a jib and light stand.

 

[Patrick Tresch]

RLS

RLS

Here some shots.

The installation needs space but not too much. You can throw the light very close to the sealing and catch it with the reflectors where ever you send the beam.

Patrick

PS: clips are not color corrected ;-)