hey, i have a shoot coming up and i'm thinking of buying a light to help out on exterior shots to augment daylight so i can get good exposure if is overcast and for some static int car shots, (i'm also gonna bring a reflector/bounce board) Would it be a Red head with a specific bulb for day light stuff and then change the bulb again for tungsten work. any suggestions on what i need? it would be handy if i could buy a lighting device that would work for the two, if i change bulbs.
light for simulating daylight
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capitanfracassa
Active member
To match the light from an overcast day you will need a 1,200W HMI Par in wide beam or a lower wattage Par in narrower beam. A red head will be useless.
Inside the shaded area of a car it is much easier given the short distance. A 100-300W tungsten light gelled full blue will probably be OK. You can also use daylight fluorescent lights.
The only fixtures that can switch between daylight and tungsten color temperature bulbs are fluorescent fixtures. The strongest fluorescent bulb you can buy is 200W. Not useful in exterior day.
Inside the shaded area of a car it is much easier given the short distance. A 100-300W tungsten light gelled full blue will probably be OK. You can also use daylight fluorescent lights.
The only fixtures that can switch between daylight and tungsten color temperature bulbs are fluorescent fixtures. The strongest fluorescent bulb you can buy is 200W. Not useful in exterior day.
okay so red heads are just for tungsten lights, so most broke / indie film makers just bounce light (or rent them i guess)..i thought there would have been an afordable light (or work around) ya could get just to aid exposure if the sun isnt out..i guess then ya have to wait for the sun to be out and shoot at certain times of the day. I have a fairly large sized SAD light which is suppose to emulate daylight i thought it might come in handy for something, perhaps the car interior if its dark.
andythefilmer
Veteran
You could look at an Arri 650 and then carry CTB gels with you. I use the Arri Softbox Kit for ENG reports and documentaries and it looks fantastic. On my news reports, usually if it is broad daylight, I use either one of the 650's or the 1000 and then reflect for the fill but at night, I use a 650 as a key, the 300 for a fill, and if necessary, the 1000w for the background. On the dreaded overcast days, I close down the iris so the background is almost slightly underexposed and then light with the 1000 and either 650 or 300. Since overcast days emit soft light, reflectors are almost completely useless.
A sliver/gold double-sided reflector is also very essential and if you can't afford any professional lights, reflectors will work fine in daylight.
A sliver/gold double-sided reflector is also very essential and if you can't afford any professional lights, reflectors will work fine in daylight.