KFlect and CRLS Mirror systems - Thoughts

I love the basic principle, however I could never justify the expense of the system without having a chance to see how effectively I could work with it first - and I don't fancy my chances of finding a rental kit here at the end of the world.
 
I have a hard enough time keeping people from standing in front of the light. Now I gotta watch it as it bounces around the set?

Of course I can't knock it until I try it, but I'm just curious if it's as flexible as our current lighting systems.
 
RyanT said:
I have a hard enough time keeping people from standing in front of the light. Now I gotta watch it as it bounces around the set?

Of course I can't knock it until I try it, but I'm just curious if it's as flexible as our current lighting systems.
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I think it has more to do with "imperfections" - i can see how this system could be very powerful on a drama with a "realistic" look where you shy away from soft sources and look for a variety of lighting surfaces. Also by not fully knowing what one can expect some interesting things can come out of it.
 
I recently watched The White Ribbon, and it looked like it was shot with available light. Seems this system did it's job pretty well.
 
I just don't quite understand...How are you supposed to light an entire set with an 800w or 1200w HMI...I'm on a job now with 2 4k's, 2 m18's, an 800w joker, and kinos, and we are just barely scraping by.

I really like the idea of lighting everything with one light....but the amount of power you need to do that seems like it has to be way more than they are allowing you to use...
 
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RyanT said:
I just don't quite understand...How are you supposed to light an entire set with an 800w or 1200w HMI...I'm on a job now with 2 4k's, 2 m18's, an 800w joker, and kinos, and we are just barely scraping by.

I really like the idea of lighting everything with one light....but the amount of power you need to do that seems like it has to be way more than they are allowing you to use...
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I think it comes down to the fact that outside of the US, gennie trucks and big lights (yep even 4k HMIs/5k tungstens count as 'big' elsewhere) are generally reserved for the very biggest shoots (i.e. anything with a small-to-medium-sized budget can't afford them). From what I gather of production in Europe, and certainly here in Australia - movie lights are generally brought in to 'compliment' the natural/available light in most locations, rather than to light those locations from scratch.

It's a very different approach.
 
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