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Need Advice: What Lights To Purchase

Christopher Gallego

Christopher Gallego

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Hey guys,


I just booked a job directing a music video, and I really need some advice regarding lighting. The producer that hired me is building up his production company and is looking to buy most of the equipment needed rather than renting. Unfortunately my DP is wrapping up work on another project so the producer turned to me for a list of lights I think he should buy. I was hoping I could put this out there and get suggestions from people much more experienced in lighting than myself. If you could buy your ideal light kit for your new production company, and budget wasn't really a concern, what would you get?


I realize there's tons of variables, but all I know so far is that the first production will be this music video--which includes locations such as a large industrial warehouse, a nightclub, a Learjet interior/exterior, and several green screen studio shots. It will be shot mostly on the 5d Mk III, with a few select shots done with the Red One MX. The indie feature they plan on doing later will be entirely Red One.


I apologize if this is an impossible question without knowing more details about the shots required and the dimensions of each set, the look they're going for, etc. But if there is anyway to come up with a list of lights that would probably be used from production to production, it would at least give me a starting point.


Thanks all!
Christopher
 
maybe start small.
2x Kino 4x4
2x Kno 2x4
2x Joker 400
2x Joker 800
2x ARRI 1.2 pars
1x ARRI 1.8 HMI
ARRI tungsten Kit w/ 2K, 2x 1K, 3x 650, 3x 300, 3x 150

Thats where i would start.
 
Do exactly what Brian and Erik said!
 
Erik Bien said:
Don't forget all the grip junk (stands, nets, flags, cardellinis, etc. etc.) to go with it.
Click to expand...

Thanks Erik! They're actually looking into purchasing a grip truck as well--which is when my indie thinking brain exploded. I wasn't even sure where to start if you wanted to outright buy a 1 ton grip truck. Thank goodness for Google. Oh, and nice ink there Clint!
 
sample of a 5-ton truck inventory

sample of a 5-ton truck inventory

http://www.sunwolf.com/5ton.html

I am not affiliated with them.. I just think their truck has what I expect to find

HOWEVER.. When I shoot a music video or an indie feature, I would love to have 2 gigantic instruments and the generator to run them..

In daylight, one goes at each end of my set, through diffusion if needed to replicate the Sun... I turn whichever one on I need to maintain lighting look..

At night, I want something I can use for a BIG space...

these may not be lights you want to buy... and the powering them is almost certainly a rental... as is the cable run..

I like 12/18K hmi's for this purpose.. or Tungsten 20K silver bullets...

basically, in music video I want to light to a 5.6/8 split, or fill in the same in daytime...

of course, thats cause I like a very deep depth of field and narrow shutter...
 
I was looking at getting some Kino flos too but someone asked me to get some LED lights instead. For those who know better. is this a good suggestion to get LEDs instead of Kinos ? Are LEDs direct replacement of Kinos? Thanks.


brian leisring said:
maybe start small.
2x Kino 4x4
2x Kno 2x4
2x Joker 400
2x Joker 800
2x ARRI 1.2 pars
1x ARRI 1.8 HMI
ARRI tungsten Kit w/ 2K, 2x 1K, 3x 650, 3x 300, 3x 150

Thats where i would start.
Click to expand...
 
Oje Unuigboje said:
I was looking at getting some Kino flos too but someone asked me to get some LED lights instead. For those who know better. is this a good suggestion to get LEDs instead of Kinos ? Are LEDs direct replacement of Kinos? Thanks.
Click to expand...

Kino flos are the industry standard. Everyone uses them. LED's, are harsher light, and if they don't have a high enough CRI rating, cast green/magenta spills on talent.
 
Besides jokers or maybe a 1200 or 1800 HMI I say rent any large sources you need. First off a 12 / 18 k is very expensive to buy, also a rental house will come a replace it (if the house is good) if it goes down in the middle of the shoot. If you own an HMI and it goes down in the middle of a shoot you're up the creek since you can't fix it yourself.
 
+1 to Eric...
HMIs are better to rent, But I am not scared of big Tungsten.. they are VERY stable and easy to repair or have repaired.

Kino's are not very user repairable.. but are very reliable..
 
Totally agree about the tungsten sources... it will just take some money to get the lines to run anything over 2K, (sound will want the generator 200+ feet away). The line's are bulky and take a lot of man power to run, but hey, that's how it goes:-) Kino's are always a solid bet. Ya just can't go wrong with em.
 
Guys I can't thank you enough for all the advice. I'm putting together a list for the producer this afternoon based on what I've learned here and see what he says. I really appreciate you all taking the time to share your knowledge with me, and I'm really glad to be a part of the Reduser community. All the best.
 
Christopher Gallego said:
...I realize there's tons of variables, but all I know so far is that the first production will be this music video--which includes locations such as a large industrial warehouse, a nightclub, a Learjet interior/exterior, and several green screen studio shots.
Click to expand...

Your right, there are too many variables. I would recommend investing in grip and electric equipment because you will use that on every job - where you won't an HMI or Kino. Rent the more expensive lights as required by the location and shot. This is how most companies do it through rental houses. In my opinion LEDs are still just for when you have to run on batteries. Where there is power you will always be better served by Kinos, HMIs and even old fashioned tungsten lights. Check out some of the new Honda generators like the new 10kw EB10000 that will enable you to power a small truck package without resorting to batteries.

Paul Dean
 
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