What's the Difference Between Baby and a Junior Light
Following on from my 'Know Your Lights' overview last week, today I'll look in more detail at the first category of lamps and the diverse units available and when you might apply them.
And that first category is incandescent lighting, commonly known as tungsten. Information technology is the oldest, simplest and most robust lighting technology. Tungsten lamps are the cheapest to hire, the easiest to repair, and emit a smoother spectrum of light than any other artificial sources, making for the most natural skin tones. For my money, in that location'south no better way to artificially light a human face than by bouncing a tungsten source off polyboard.
Tungsten lighting units can be sub-categorised by the style of reflectors and/or lenses in the heads…
Open up-face
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The simplest instruments are known as 'open-face' because they take no lens to focus the light. Past far the almost common units are the 800 Watt and 2,000 Watt models. These are often referred to as 'redheads' and 'blondes' respectively, though I strongly discourage these terms for reasons touched on here. 300W models – dubbed 'Lilliputs' by manufacturer Ianiro – are also available, also as 1Ks and much larger models like the Mole-Richardson Skypan 5K and Skylite 10K.
While I have lit unabridged no-upkeep features with but open-face lights, on larger productions the uneven and unfocused nature of their light makes them a poor relation of other units on the truck. They are most likely to go fired into a bounce board or used to create a piffling pool of lite somewhere in the deep groundwork where finesse is not needed.
Fresnel
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The fresnel lens was invented in the early on 19th century by French physicist and engineer Augustin-Jean Fresnel in social club to increase the focus and throw of lighthouse lamps. Today in the film industry, fresnel lenses tin can be found on tungsten, HMI and even LED fixtures.
Tungsten fresnels come up in the post-obit wattages: 150W, 300W, 650W (a.thou.a. 'tweenie'), 1K, 2K, 5K, 10K, 12K, 20K, 24K.
1Ks and 2Ks are sometimes called 'babies' and 'juniors' respectively, but confusingly those terms can as well refer to whether they are the smaller location models or larger studio versions of the same wattage.
Though the fresnel lens reduces the calorie-free output a little, the beam is much more focused and can therefore create a shaft of light through smoke, which open-confront lamps cannot. Hence I sometimes use tungsten fresnels to simulate difficult sunlight when shooting on a stage. But beware that shadows cast by a fresnel can sometimes show up the ridges in the lens.
I often burn fresnels into bounciness boards, and because their light is more focused they require less flagging to command the spill than open up-face units.
On Heretiks nosotros used numerous 300W and 650W fresnels to beef upwardly candlelight, frequently placing tough-spun diffuser over them, dimming them downward to warm up the colour temperature, and flickering them besides.
Par (parabolic aluminised reflector)
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Par lights utilize a parabolic (shaped similar half a rugby ball) reflector and a lens to produce a soft-edged oval puddle of low-cal. They are extremely common in theatres, but are often used in moving-picture show and Tv set every bit well.
Unlike fresnel and open-face up units, par cans are referred to not by wattage but by the diameter of the bubble in eighths of an inch. So a Par sixteen (a.k.a. 'birdie') has a 2″ bulb.
Par cans come in the following sizes: 16, xx, 36, 38, 46, 56, 64. They as well come up with various internal specs which bear on the width of the beam.
Par cans are skilful for throwing shafts of light. On The Piddling Mermaid I used them to simulate car headlights, and as practicals (i.e. they were seen on photographic camera) to uplight banners at the circus.
Maxibrutes (a.chiliad.a. 'Molepars') are banks of multiple par 64 (1KW) lights. They come in banks of 4, half dozen, 9, 12 or 24. They popular upwards in the background of music promos quite ofttimes, because they await cool and kind of retro. I used two 9-light Maxibrutes, bounced off the tent roof, to illuminate the big top in The Picayune Mermaid. Some DPs like to apply Maxibrutes for backlight on dark exteriors. If you're using them direct, you'll need at least a sail of unequal to prevent multiple shadows.
Minibrutes (a.k.a. 'fays') are similar, but employ smaller par 36 (650W) lamps.
Other
Dedolites are compact units that employ a unique lens system to produce very focussed, controllable light from (most commonly) 150W bulbs. They are widely available to hire, come with in-line dimmers, and are small and light plenty to be rigged overhead or in tight spots. I oftentimes use them to beef up practicals.
Source Foursor (a.k.a. 'lekos') are ellipsoid reflector spotlights. They characteristic cutters which can be used to shape the beam, they tin can be hired with different lenses (some of which are zoomable), and they can be fitted with gobos to project patterns. They are good for stylised pools of calorie-free or for firing into distant bounce boards without spilling low-cal elsewhere.
Spacelights are wagon-wheel configurations of three or half-dozen 1K lamps inside a cylinder of diffusion fabric. They are normally used in large numbers to provide ambient toplight on stage. Click here for a brief video introduction to spacelights.
Jem Balls, or China balls, resemble Chinese paper lanterns. They come in 22″ (up to 1KW) and xxx″ (up to 2KW) sizes and produce a very soft light which I personally detect is never brilliant enough.
Bare bulbs (usually referred to as 'globes') in pendant fittings can be hung from overhead or hidden behind set dressing, maybe to beef up practicals. On Ren: The Girl with the Mark and other projects I hid some globes behind furniture to heighten the pool of light from candles.
Finally, tungsten is unremarkably the nigh desirable type of seedling to utilize inpracticals. It is commonplace when shooting a daylight interior for a spark to become effectually replacing the energy-saver fluorescent bulbs in the table lamps with old-school tungsten ones. The color is much nicer, the skin tones are better every bit noted above, and they can exist dimmed to simply the right level for camera.
I'm sure I've missed something out – delight feel free to let me know on Facebook or Twitter! Next week: HMIs.
Source: https://neiloseman.com/know-your-lights-tungsten/
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