I am curious if anyone has had any experience lighting for the hvx + g35. I am planning on renting some kino flos but someone told me they are not powerful enough for the light hungry g35. They advised me to rent some HMI'S. I am thinking a 2.5k might be good enough to light for the g35. What do you guys think?
KINO FLOS good lighting for G35?
- Thread starter PIMP
- Start date
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HMI? Unless you're shooting near a blackhole that's some serious overkill for an adapter. A 2.5k HMI is roughly equivalent to a 10kw tungsten. That's powerful enough to compete against the sun!
A few Kino will be more than sufficient, of course it depends on the look you're going for.
HMI? Unless you're shooting near a blackhole that's some serious overkill for an adapter. A 2.5k HMI is roughly equivalent to a 10kw tungsten. That's powerful enough to compete against the sun!
A few Kino will be more than sufficient, of course it depends on the look you're going for.
Mike Harvey
Veteran
But THAT hungry? Kinos can throw off a lot of light.
you should ask this guy http://www.vimeo.com/user492509
he seems to do alot of g35 hvx stuff indoors
he seems to do alot of g35 hvx stuff indoors
Dino
Veteran
I commonly use a 2'X4-bank Kino Flo for head shots with a 4'X4' silk or 216 with 2/3" camera without DOF adapters. I tried the same setup with an HPX170/Letus Ultimate/Nikon 50 and 85mm f1.2 and couldn't get proper exposure. So, I think with a DOF adapter that's another stop slower, you'd have to double up the 2'X4-bank setup for your key and either go with less diffusion, 250 instead of 216 or no diffusion and of course the fastest taking lens possible.
There are larger Kino Flo's, like 4'X4-bank and Image 80's, but these require more space and are harder to transport. In all cases, the lights will have to be right at frame line. I find the Kino Flo 2'X2-bank lights are great for scratch and back lights.
Lenilenapi
Carbonite Member
I don't quite understand the question - It depends what you are lighting. If its a bug 1' away you have plenty of light with a small kino. yankee stadium will require a bit more. If you mean say a talking head interview type shot, my experience with the original Redrock which was quite slow is that I could barely do it with a 1K through a chimera and my usual small lighting kit was marginal for many shots. A 1200W HMI worked great in many situations and we often used one . A 2.5K HMI is nice but then you need more large instruments to work with it. Its great if you have the $$'s and the crew to work them.
That's why the G35 doesn't interest me. Lighting budget is a huge deal on a shoot and to me the positives of the G35 don't outweigh that big negative. But this all depends on how you work and what kind f lighting budget you usually have.
Lenny Levy
That's why the G35 doesn't interest me. Lighting budget is a huge deal on a shoot and to me the positives of the G35 don't outweigh that big negative. But this all depends on how you work and what kind f lighting budget you usually have.
Lenny Levy
jenningsp
Well-known member
in short no.
if you're using the original hvx with an iso of ~320, then you're screwed...
i shot in a living room (two people having an argument standing up) with the Z1(iso ~190) with the sgpro at f2.8. that's probably equivalent to the old HVX w/ the G35 at f2.
we used a 2k blondie and 2x800w redheads for decent exposure over the entire room. everything was bounced off the white ceiling for a naturalistic soft look. and it wasn't a high ceiling either.
if you're using the original hvx with an iso of ~320, then you're screwed...
i shot in a living room (two people having an argument standing up) with the Z1(iso ~190) with the sgpro at f2.8. that's probably equivalent to the old HVX w/ the G35 at f2.
we used a 2k blondie and 2x800w redheads for decent exposure over the entire room. everything was bounced off the white ceiling for a naturalistic soft look. and it wasn't a high ceiling either.
jenningsp
Well-known member
in short no.
if you're using the original hvx with an iso of ~320, then you're screwed...
i shot in a living room (two people having an argument standing up) with the Z1(iso ~190) with the sgpro at f2.8. that's probably equivalent to the old HVX w/ the G35 at f2.
we used a 2k blondie and 2x800w redheads for decent exposure over the entire room. everything was bounced off the white ceiling for a naturalistic soft look. and it wasn't a high ceiling either.
if you're using the original hvx with an iso of ~320, then you're screwed...
i shot in a living room (two people having an argument standing up) with the Z1(iso ~190) with the sgpro at f2.8. that's probably equivalent to the old HVX w/ the G35 at f2.
we used a 2k blondie and 2x800w redheads for decent exposure over the entire room. everything was bounced off the white ceiling for a naturalistic soft look. and it wasn't a high ceiling either.
Lenilenapi
Carbonite Member
I'm with Jennings- you'll be hard pressed unless you have big Kinos - those might work but they would be large for an average living room.
Shibuya Oboya
Well-known member
Jonathan, from Cinemek, posted this on page 5 of Philip Bloom's thread about the G35-
" http://virb.com/cinemek/videos/51927
This was shot with an A1 G35 35nikon lens.
Main lighting source 1500 watt chinaball which we had on a rolling 3 rise combo stand to add ambient to the scene.
we had a 1200 watt HMI outside which we had a double net on for most of the shoot and everything else was standard 10 and 40 watt practicals on the wall lights.
Oh, I had a Diva in the kitchen working the cook as well.
Not home depot shop lighting, but a very indie kit. It all fit in the back of my jeep. Hope this gives you a better idea. "
" http://virb.com/cinemek/videos/51927
This was shot with an A1 G35 35nikon lens.
Main lighting source 1500 watt chinaball which we had on a rolling 3 rise combo stand to add ambient to the scene.
we had a 1200 watt HMI outside which we had a double net on for most of the shoot and everything else was standard 10 and 40 watt practicals on the wall lights.
Oh, I had a Diva in the kitchen working the cook as well.
Not home depot shop lighting, but a very indie kit. It all fit in the back of my jeep. Hope this gives you a better idea. "
Dino
Veteran
What continues to shock me about all of these palmcorder lenses is how much light transmission is lost when zoomed in for DOF adapters. A lens rated at f1.7 is really f2.8 when at the focal length needed for an adapter. Then add a DOF adapter that has 1 1/2 stops of loss, and you need to light for a 5.6-4 split. Using a half shutter could result in another 1/2 stop of loss.
Philip Bloom measured a two stop advantage from bypassing the stock EX3 lens and using the Letus 1/2" relay with the Ultimate. If I'm shooting interiors, I want the fastest built-in lens or relay possible, along with fastest DOF adapter, like a Letus with 1/2 stop of loss and a taking lens that is f1.2-1.4 range.
Even assuming the above, you're still looking at needing a 2K/Chimera or 2K/silk. Kino Flos don't throw very well and you need to double up a 4-bank just for a single head shot.
It would be better to have the option of running the camera lens or relay at a lower f-stop, along with the taking lens for better sharpness and contrast. This would not be an option with a DOF adapter that loses 1 1/2 stops for night time interiors.
Philip Bloom measured a two stop advantage from bypassing the stock EX3 lens and using the Letus 1/2" relay with the Ultimate. If I'm shooting interiors, I want the fastest built-in lens or relay possible, along with fastest DOF adapter, like a Letus with 1/2 stop of loss and a taking lens that is f1.2-1.4 range.
Even assuming the above, you're still looking at needing a 2K/Chimera or 2K/silk. Kino Flos don't throw very well and you need to double up a 4-bank just for a single head shot.
It would be better to have the option of running the camera lens or relay at a lower f-stop, along with the taking lens for better sharpness and contrast. This would not be an option with a DOF adapter that loses 1 1/2 stops for night time interiors.
Lenilenapi
Carbonite Member
Everything Dino said,
I like to shoot with those wonderful Nikon 2.8 zooms. That's already increased your light needs over a 1.4 50mm lens by as much as 2 stops.
The bokeh may be nice but adding an additional 1.5 stops of light will pay for a new adapter every month or so just in HMI rentals.
As I said before - it all depends on your budget and your needs.
Lenny Levy
I like to shoot with those wonderful Nikon 2.8 zooms. That's already increased your light needs over a 1.4 50mm lens by as much as 2 stops.
The bokeh may be nice but adding an additional 1.5 stops of light will pay for a new adapter every month or so just in HMI rentals.
As I said before - it all depends on your budget and your needs.
Lenny Levy
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Austinv
Well-known member
seriously, the G35 looks like an awesome adapter, but for the price its not worth it. You could get a Brevis with rails for around the same price or save up a little more for a nice Letus. The adapter needs far to much lighting and for a low budget indie film with a tiny crew it is a little ridiculous lighting with HMI's and 2k plus kinos.
Beat Takeshi
Two-Hip Shakur
Yeah its probably better to sell the G35 for something much faster. It will also be cheaper in the long run if you have to rent lights all the time.
The other option is to upgrade to the HPX170. You'll be able to use Gain up to 6dB without damaging your image too much.
There's nothing wrong with using HMI's to raise ambient in your indoors setup. Use Diffusion, silks, nets or even CTO to cut light you're shooting narrative pieces. But you don't need to have an extensive HMI kit unless you're doing a large scene that requires it.
If I had it my way, all of my lights would be HMI's, but it adds a bit more stress because you need to gel down to tungsten. Still, those suckers keep the room cool.
And if I could afford to own a host of HMI's? Jokers... everywhere. They'd be in my bathroom, in my coffee cup... I <3 Jokers.
There's nothing wrong with using HMI's to raise ambient in your indoors setup. Use Diffusion, silks, nets or even CTO to cut light you're shooting narrative pieces. But you don't need to have an extensive HMI kit unless you're doing a large scene that requires it.
If I had it my way, all of my lights would be HMI's, but it adds a bit more stress because you need to gel down to tungsten. Still, those suckers keep the room cool.
And if I could afford to own a host of HMI's? Jokers... everywhere. They'd be in my bathroom, in my coffee cup... I <3 Jokers.