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Old December 24th, 2003, 03:49 PM   #46
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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
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Old December 24th, 2003, 04:59 PM   #47
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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?

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Old January 2nd, 2004, 04:48 PM   #48
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"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
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Old January 4th, 2004, 02:12 PM   #49
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Did you know that Sony has a whole range of onboard lights
for their camera's? See this page
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Old January 4th, 2004, 02:59 PM   #50
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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
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Old January 8th, 2004, 08:51 AM   #51
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LED article in NY Times

http://www.nytimes.com/2004/01/08/te...08lite.html?th
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Old January 11th, 2004, 06:44 PM   #52
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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.
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Old January 16th, 2004, 04:01 PM   #53
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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..
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Old January 16th, 2004, 05:54 PM   #54
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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.
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Old January 18th, 2004, 12:27 PM   #55
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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.
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Old January 18th, 2004, 01:52 PM   #56
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I do believe

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

2905 I think

about $20
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Old January 18th, 2004, 02:20 PM   #57
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Just the thing, thanks.
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Old January 18th, 2004, 04:03 PM   #58
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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
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Old January 18th, 2004, 07:13 PM   #59
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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.
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Old January 20th, 2004, 10:40 PM   #60
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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?
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