Tota's in a softbox?

C

calster.

Active member
Hey, quick simple question. I've got a couple of Tota's and stands. Can I buy a softbox for them, they're just wayyyyy to harsh. If so, any suggestions for price/performance/size? I end up bouncing them off a wall or a ceiling generally.

thanks.
 
Sure, an open-faced light like a Tota is perfect in a softbox. I have a set of small, medium, and large Photoflex Silverdomes and Cinedomes that I've used with Tota's. I'd recommend a medium sized Silverdome and the TOTA speed ring. It's a good balance of price, size, and quality of light.
 
any reason for medium vs. large? Just wondering, i checked out the silverdome online and it's definitely in my price range. I thought that the ubrella's would soften it enough, nope.
 
I like the large Silverdome a lot, but it's a little like setting up a tent indoors. :) Actually, it's not bad, but if you're working in tight spaces it can be unwieldy. Of course, the larger the softbox, the softer the light. So guess it all depends on the size of the spaces you're shooting in.

callan said:
any reason for medium vs. large? Just wondering, i checked out the silverdome online and it's definitely in my price range. I thought that the ubrella's would soften it enough, nope.
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For those of you using hotlights in boxes- are you successfully using CTB gels in scenes that have a lot of daylight? Do you get a good color match?

thanks

fn
 
Matching the color isn't a problem, but once you start diffusing a light in a softbox, plus adding a full CTB gel, you don't have much light left. I think I'd skip the soft box in a situation like that and maybe use a fresnel with the CTB and some very light diffusion like Lee 250 (1/2 white diffusion) or Lee 251 (1/4). Maybe a flo with daylight tubes, but it all depends on what you're trying to do (ie, key, fill, how much daylight, etc.).

Fake Name said:
For those of you using hotlights in boxes- are you successfully using CTB gels in scenes that have a lot of daylight? Do you get a good color match?

thanks

fn
Click to expand...
 
Yup, that's the problem. I own a ton of hot light gear, but have to shoot in a office with some daylight. I COULD rent a set of Kino's but it's tough to pay for that when I have so much tungsten available for free. I might pop for a dichro filter on the Omni light and use a full (or fraction) CTB on the Tota for a rimlight. The dichro filter only kills about a single stop, which at 500 watts should leave me enough light to do the job- right? Assuming the ambient is not killer-bright.

The fresnel solution sounds too contrasty for me. I'll have no makeup artist, and these are not actors, so I should show a little mercy and use a soft source. But I'll have to set it up in a test run and see- I'm much more familiar with still work, and don't have a good "feel" for the tonal response of video.

Another consideration is weight- I have to fly to 4 cities in 5 days, and my fresnels are very heavy compared to the Lowel gear. Airline regs are 50 lbs per case, and I only get two cases as I'm travelling without an assistant, I hate pro-bono.

I also have to tear down and leave pretty quickly, and a 1k Altman takes FOREVER to cool down enough to pack into the case ; )

Thanks, Barry, for your suggestions!

fn
 
You could buy some cheap hardware store fluorescent lights and daylight bulbs. It's a really cheap way to get soft daylight fixtures.
 
HorseFilms said:
You could buy some cheap hardware store fluorescent lights and daylight bulbs. It's a really cheap way to get soft daylight fixtures.
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When Ryan Seacrest still had his TV show, "On-Air," their entire offices were lit with these daylight Philips flourescent bulbs ('cause they shot in the green room, etc.). I never got the part number, but the daylight color temperature of those Philips bulbs was EXCELLENT. They balanced PERFECTLY at 5600K. Pretty darn good for a Home Depot kinda light source!
 
We have totas for VideoPro Chimera softboxes. We also have a larger 4'x4' "Quartzbank" that we use on occaission. They also make speed rings, and softboxes for fresnels.

I usually stick a large, curved piece of 1/2 CTB inside and in front of the tota for daylight matching shots. Of course you loose a stop or more and it's bit warmer than true daylight.

It's tough lighting large areas like this, but for interviews you can get by. It helps to apply "roscoe Scrim" or some ND Orange to the window(s) to knock them down a stop or two.

J Patnaude :beer:
 
Softbox sizes

Softbox sizes

I'm going with a large and medium silverdome i think....now to save for some kino's :)
 
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