China lanterns are an ideal lighting source that almost every production uses. I worked on a tv series and I want to say we hung about 23 of them throughout a family's home. We simply gaffed the top halves to prevent unwanted spill and boom, nice even supplemental lighting. Let's just say we taped a lot of wire to the ceiling and the pig nose adapter was our dear friend.
Luke, your videos are immensely insightful. As a small town guy in the Midwest you really don't get much of a chance to get back stage in the belly of a big studio. One of my goals has been to train locals here in Southern Illinois to be viable crew for films so that we can work on enticing production companies to shoot here in our area. Your videos have been an amazing tool in helping to expose people to the intricacies of the G&E departments and to film in general without the need to take expensive field trips to the studios in Chicago. Appreciate all the hard work you put into this.
No problem at all Luke, credit where it is due. We are about 4 hours south of Bloomington. If you hop on I-74 and grab I-57 at Champaign it takes you right through Vienna just before you hit Metropolis/The Ohio River. Needless to say I always tell people I am basically from Kentucky.
Ha, Ha! I forgot how long of a State Illinois is. I grew up in the suburbs outside of Chicago until I was nine. The furthest South we got was Springfield:) Happy to give a shout out to your film community if you send along a logo or photo or just something visual that will help people remember you!
Yes I agree with that whole-heartedly. I studied in Chicago and the trip from one end to the other on holidays was EXTREMELY long. That would be wonderful. We have a fledgling Film Commission started just in the last couple months. I will have them send you the logo. Would the email on your website be the best way?
Really enjoying all your tutorials Luke. Any chance you could produce one or two on the most commonly used diffusions and why you would select one type over another. Maybe the same with gels? Basic stuff, I know, but I've never seen any good tutorials on this subject. Thanks!
What was the advantage of going all the way up to the catwalk and then down to the dimmer hut? I suppose that's how the building was structured. I'm also perhaps not taking into consideration the distance between the switches and the dimmer hut?
it because these stages are constantly getting worked on, it may get used for a show for 4 months then get rebuilt for a different one. they don't want to tie up the expensive power and distro boxes so everything is pretty often getting moved. your talking easily 700-1000$ per 100ft of cable.
Sound distro for a live event or a regular video shoot? Not sure I’ll get to “live sound power distro” in the near future... but I do plan to interview sound recordists from time to time:)
Got it. If it’s a big enough gig I’m sure they get their own source whether it’s from the house or a genny. Not sure I’ll be covering that in any satisfactory detail tho:( Maybe ask a sound person to shoot a Vlog for you at their next concert set up?
Sheila concurs. The show was down for Cinegear, but yes, not a good idea to walk around in open toed shoes. Safety first! Thank you for calling us on it.
I'm still confused why the dimmer racks weren't in the same room as the distribution panels or at least have the 4/0 run on ground level to the dimmer room, seems like a lot of wasted effort to run it up and back down, not to mention the extra cable needed to do that.
Many Reasons, first is sound. Dimmers require cooling and have fans which are noisy. Also studio floor space is a premium so you clear the actual floor as much as possible. Also TBH the big cable is cheap so a run of 400 ft is not unusual. However I don't think in the video above, enough attention was paid to cable grouping and the heating affects of this.
It's dangerous for fires, but less dangerous in many other ways. My guess is that the reason it's all made out of wood is for safety because wood is non-conductive. So if something fails the entire catwalk doesn't become hot and kill someone. I'm sure studios would rather an entire studio burn to the ground than have a person killed. That's what insurance is for.
Hi IGLY, I've considered it, but I'm a little worried about the liability of explaining it! Maybe it could be approached as an historical video, shot in black and white, presented as something we used to do:-)
1: it's Socapex, not Sacopex. 2: I don't get the purpose of running multiple single core runs up to the perms, just to then run it down to the dimmer house. That's just bad studio design. Facility power racks should be close to the dimmer house. 3: why would you do all bigger gauge distro (>60 amps) in the dimmer house while you could strategically place some distro boxes in the perms? You are not using advantage of three phase power at all, and the result is a ridiculously ugly pile of copper. Forgot to mention 110V is a big laugh. Is there still some copper left in the States?
+Korneel Moeyaert, Thank you for the spelling correction! As far as the layout and distro choices: it may have been a matter of the stage set-up changing over the years from using scrims to full dimmer control... but that's just a guess. No doubt it would be laid out differently if configured today. As to 110... you work with what you're given:-)
![[FULL EP.73] เปิดบ้าน 70 ล้าน "แป้ง Zbing" ยกมาทั้งญี่ปุ่น l เคหสถานบานปลาย l One Playground](http://i.ytimg.com/vi/YBnJhTt07Pg/mqdefault.jpg)
my back and knees hurt thinking of that 100' 4 aught. Nasty
Many backs have been ruined and many back doctors made wealthy.
def knee replacement in my future :-{
damn that looks crazy. would love to see them set this whole thing up through a timelapse! damn. Thanks for this great episode!
Sheila Greene was great! Wonderful to see some ladies representing in the lighting department at such a high level!
+Roberto Gudino... exactly!
You're doing great stuff, Luke! Just heard you on the "Filmmakers Drinking Bourbon" Podcast. You did great! Keep it up.
+Roberto Gudino, Thank you for the kind words, Roberto!
I saw the lanterns hanging and got excited! Nice to know some of the simple-but-effective gear we use on-location is used on the stage as well!
China lanterns are an ideal lighting source that almost every production uses. I worked on a tv series and I want to say we hung about 23 of them throughout a family's home. We simply gaffed the top halves to prevent unwanted spill and boom, nice even supplemental lighting. Let's just say we taped a lot of wire to the ceiling and the pig nose adapter was our dear friend.
:)
Luke you are the man. THANK YOU SOOOO MUCH FOR THIS CONTEND!
Luke, your videos are immensely insightful. As a small town guy in the Midwest you really don't get much of a chance to get back stage in the belly of a big studio. One of my goals has been to train locals here in Southern Illinois to be viable crew for films so that we can work on enticing production companies to shoot here in our area. Your videos have been an amazing tool in helping to expose people to the intricacies of the G&E departments and to film in general without the need to take expensive field trips to the studios in Chicago. Appreciate all the hard work you put into this.
Thank you so much for the kind words! I wish you good luck inspiring folks to come shoot in your area. How far are you from Bloomington-Normal, IL?
No problem at all Luke, credit where it is due. We are about 4 hours south of Bloomington. If you hop on I-74 and grab I-57 at Champaign it takes you right through Vienna just before you hit Metropolis/The Ohio River. Needless to say I always tell people I am basically from Kentucky.
Ha, Ha! I forgot how long of a State Illinois is. I grew up in the suburbs outside of Chicago until I was nine. The furthest South we got was Springfield:) Happy to give a shout out to your film community if you send along a logo or photo or just something visual that will help people remember you!
Yes I agree with that whole-heartedly. I studied in Chicago and the trip from one end to the other on holidays was EXTREMELY long. That would be wonderful. We have a fledgling Film Commission started just in the last couple months. I will have them send you the logo. Would the email on your website be the best way?
lseerveld@gmail.com works too
Wow! Just...wow! Sheila was awesome.
You can't see this sort of thing anywhere
Thank you Luke!
+Rick Urbanowski, Agreed... Sheila is great!
Awesome! Thanks, Luke! And thank you, Sheila Greene!
Wow Gigantic set up, Thank you!
Yes! Thanks for the Distro videos!
Amazing work! You're the best
Great episode Luke and Sheila! Keep 'em coming!
Thank you, Tristan!
Love this channel so much!
+Isaac Newcombe, Thanks for the love!
I like the new intro music!
Hi Louis, Thank you for noticing. It was put together by Christopher Hedge at The Magic Shop Studio.
Rock on Sheila! 🤘🏻 nice ep dude!
+Grip Tips, and thank you for the recommend to the Filmmakers Drinking Bourbon podcast... looking forward to listening while sipping:-)
Really enjoying all your tutorials Luke. Any chance you could produce one or two on the most commonly used diffusions and why you would select one type over another. Maybe the same with gels? Basic stuff, I know, but I've never seen any good tutorials on this subject. Thanks!
Hi james glynn, That's a good plan! Different diffusions and bounces would be a good thing to cover. Thank you.
What was the advantage of going all the way up to the catwalk and then down to the dimmer hut? I suppose that's how the building was structured. I'm also perhaps not taking into consideration the distance between the switches and the dimmer hut?
it because these stages are constantly getting worked on, it may get used for a show for 4 months then get rebuilt for a different one. they don't want to tie up the expensive power and distro boxes so everything is pretty often getting moved.
your talking easily 700-1000$ per 100ft of cable.
thanks!
What DMX Console are they using for control? Do they have remote access from the stages or it is all radio back to the DMX Op?
I have no idea:( It was just a quick walkthrough overview:)
I was on the show the practice back in the 90's and we shot at the Desilu studios and I thought Red Studios is now that studio?
Hi Joseph, Sorry, I don't know the history beyond what I was told... the ramp and fence sure looked the same:-)
you are right about that
That was all for lighting. Can you guys do a video of live sound power distro?
Sound distro for a live event or a regular video shoot? Not sure I’ll get to “live sound power distro” in the near future... but I do plan to interview sound recordists from time to time:)
I mean for the sound in concerts. I'm very into audio and I was wondering how all those power amplifiers back stage get power.
Got it. If it’s a big enough gig I’m sure they get their own source whether it’s from the house or a genny. Not sure I’ll be covering that in any satisfactory detail tho:( Maybe ask a sound person to shoot a Vlog for you at their next concert set up?
Cool! Any reason why the dimmers aren't up above?
The dimmer pack room is on the ground floor where it can be cooled if necessary and probably more accessible. But I'm just speculating...
im having a heart attack every time she touches a cable or a metal pole in sandals, even though everything is off #fearelectricity #otherlevel #boss
Sheila concurs. The show was down for Cinegear, but yes, not a good idea to walk around in open toed shoes. Safety first! Thank you for calling us on it.
I'm still confused why the dimmer racks weren't in the same room as the distribution panels or at least have the 4/0 run on ground level to the dimmer room, seems like a lot of wasted effort to run it up and back down, not to mention the extra cable needed to do that.
+Chris Van Lieshout, It would be interesting to know the history of the layout. The stage was probably built before this dimmer system was added.
Many Reasons, first is sound. Dimmers require cooling and have fans which are noisy. Also studio floor space is a premium so you clear the actual floor as much as possible. Also TBH the big cable is cheap so a run of 400 ft is not unusual. However I don't think in the video above, enough attention was paid to cable grouping and the heating affects of this.
This looks like something out of the 1930s.
Not that far off, and not that long ago it was state of the art.
Interesting! But isn't all that wood dangerous as she even mentioned it's quite hot above?
+prottentogo, I'm thinking wooden perms is probably the least of their safety issues:-)
haha okay then
It's dangerous for fires, but less dangerous in many other ways. My guess is that the reason it's all made out of wood is for safety because wood is non-conductive. So if something fails the entire catwalk doesn't become hot and kill someone. I'm sure studios would rather an entire studio burn to the ground than have a person killed. That's what insurance is for.
That couldn't have been Sheila Greene. She didn't cuss once!
LOL
Can you do a video on doing tie in?
Hi IGLY, I've considered it, but I'm a little worried about the liability of explaining it! Maybe it could be approached as an historical video, shot in black and white, presented as something we used to do:-)
I understand. just put this warning in the video. i.imgur.com/EPo7rsN.jpg
1: it's Socapex, not Sacopex. 2: I don't get the purpose of running multiple single core runs up to the perms, just to then run it down to the dimmer house. That's just bad studio design. Facility power racks should be close to the dimmer house. 3: why would you do all bigger gauge distro (>60 amps) in the dimmer house while you could strategically place some distro boxes in the perms? You are not using advantage of three phase power at all, and the result is a ridiculously ugly pile of copper. Forgot to mention 110V is a big laugh. Is there still some copper left in the States?
+Korneel Moeyaert, Thank you for the spelling correction! As far as the layout and distro choices: it may have been a matter of the stage set-up changing over the years from using scrims to full dimmer control... but that's just a guess. No doubt it would be laid out differently if configured today. As to 110... you work with what you're given:-)
Golden rule is never to have your switching up and out of the way. Switching should always be accessible.