3:08 - That roman handshake clamp arm tho! 🏆 Like those old Michael Jordan commercials. "Off the rafter clamp, over the glass, nothing but (scrim) net. 😂
Nice job, I love getting to see how other gaffers work, and the different gear used. Strangle as it may seem, next to no one uses leko style lights in Melbourne Australia so I loved seeing that. How great are the Aladdin lights. This video really shows the versatility of these. I almost feel lazy using them because they have made my life so much easier. Thanks Luke.
Right on, Andrew! I think I tend to use ellipsoidals and joleekos instead of fresnels... but I miss the fresnels:) I do like the Aladdin’s too. Most people here use LiteMats... so I’m kind of a rebel:) I wish I could use the detail you used in the breakdown of the beauty shoot you did... but it takes a little more time!
I love these behind the scenes segments; I love seeing how you lit a scene and then watching the final image. You lit all of those scenes in one day? Above the car had 8x8 1stop of diffusion and a 1stop screen? That's a great way to light the interior of a fridge. Was there a creative decision to keep the color of the lighting uniform throughout all the scenes, instead of warming it up for "India" or changing it for "Chile?" There's a lot going on here; this is a video I will definitely be re-watching.
The airport was one long day and the other scenes were another day. I’m not sure what diffusion was in the 12x above the car, but yes, it was still to much light so the net was added. The fridge was a diffused litegear strip. I had the 2’ RGB Quasar ready to go, but we didn’t need it. I also had some Litegear strips under the kitchen counter so it wouldn’t be a dark hole. I don’t remember having a separate discussion about color balance following the storyline, but that doesn’t mean it didn’t happen. DP, Chris Gonzalez, usually does the post color, so I probably just followed whatever he asked for... :)
I love your videos mostly because you tend to place the lights more or less where i would have on those sort of shoots but get very different results. On those "electricity impaired" shoots i always bring two 575s that i know i'll use with medium spot or spot lens to create pools of light in background. I make sure they are smaller units (k5600 or LTM) so the lights can be easily hidden that way i can have nice strong backlight on some background elements.
Your bts setup videos are so invaluable! It's so detailed. Question, any particular reason why you chose Aladdin lights versus something like Litemats?
I’m always looking for units that I can travel with. For me, Jokers became Area 48’s, became Astras, became Aladdins. All these units are not interchangeable: where one unit has more output but less tuneability another unit is bright and tunable, but has a small face. It’s always something! Litemats frustrated me early on because of their funky connectors and ballasts that were not easily DMXable or run off v-mounts. Now that’s been figured out, but it took a few iterations. In the meantime, I picked up a 1x2 Aladdin and then the two 3x3’s. LiteMats are great: light, thin, and readily available, but they do take up a fair amount of room because they don’t fold up. To be fair, I don’t break down the Aladdins too often either because I’ve been working on a better framing system that will travel well. That will show up in an upcoming episode:) The Aladdin is not perfect either. I wish the 350w power set up was better designed, for instance. One other reason I haven’t yet gotten into Litemats is that DP’s have not specifically requested them or have been fine with the Aladdins... That’s my story and I’m sticking to it:)
thanks for the great video luke! how are you dealing with the likely +/- green bias in locations such as the grocery store? the aladdin panels don't allow you to compensate for this, do they?
As you point out, neither the Aladdins nor the Astras allow +\- grn tuning, but we figured we’d let the store lights go and just get the Kelvin close and have our lights be the main light on the talent and block the house lights near camera. Having RGB tunable lights is optimum, but large spaces often have more than one color source, so unless you have time and resources to replace or gel, it’s not always possible to just tune to one color. Sometimes you just control what’s illuminating the talent and go with:) Eventually everything will be RGBW and tuneable, right!?
The Aladdin’s in this case were used as a sort of front fill, where the Skypanels were often creating the main motivating source. I do often use the Aladdins as a Key source for smaller interviews. I’m not sure what my stops were on those vignettes. The 350W, for instance, is not as punchy as the S60 Skypanels because the wattage is a little lower and the overall source size is larger which means the emitters are more spread out. However, I like the Aladdins and the Celeb 850 not because they have less output, but because I can put them into play and know that I’m starting with a larger source size without having to put a frame of diffusion in front to spread it out. I certainly can, but the size is already larger, which is usually my goal:) Hope that helps even though I didn’t answer your question directly!
I think it was magnets. I have some smaller round magnets from rigwheels that have 1/4-20 thread in the middle. You can attach those to the metal clamps that come with the tubes. Pretty slick for metal surfaces.
We are stuck in 120V land, so our M18’s are always on the edge of blowing regular 20A circuits. I think an M18 would have had a fighting chance, as we say, but it’s always good to have back up and alternatives:)
Can anybody recommend the manfrotto wallspreader "cross pole" or the auto pole (or is auto pole for vertical mountings only?). Or what wall spreader would you get to be able to get a couple aputure 300d up in the roof? I dont whant to use wood based
One of a few YT channels filled with content. Level master.
:)
Awesome breakdown Luke. Always great to see the final product at the end, looks great!
I love the "Gaffer humor!!" "Try not to squint [with giant light 2 feet away]"
These videos are very rare for looking for lightning and for who wants to be a gaffer.. Thanks Mr Seerveld..
You are very welcome and I’m glad you find them helpful. All the best with you work!
Dayum i never knew all this was needed to get such production value
:)
3:08 - That roman handshake clamp arm tho! 🏆
Like those old Michael Jordan commercials. "Off the rafter clamp, over the glass, nothing but (scrim) net. 😂
:)
Thank you to share so much info .
From india... It's nice thanks for the bts... It's like a practical class.
I’m glad you find them helpful, Mathinirai.
This was the best episode on youre channel so far (that I seen). Thanks
:)
Pleasure working on this project with you Luke! Great video!
Yeah, but I forgot to mention you... Sam Slade, everyone: Intrepid AC, Effects Editor, and probably a whole lot more!
Nice job, I love getting to see how other gaffers work, and the different gear used.
Strangle as it may seem, next to no one uses leko style lights in Melbourne Australia so I loved seeing that.
How great are the Aladdin lights. This video really shows the versatility of these. I almost feel lazy using them because they have made my life so much easier.
Thanks Luke.
Right on, Andrew! I think I tend to use ellipsoidals and joleekos instead of fresnels... but I miss the fresnels:)
I do like the Aladdin’s too. Most people here use LiteMats... so I’m kind of a rebel:)
I wish I could use the detail you used in the breakdown of the beauty shoot you did... but it takes a little more time!
Priceless, thanks!
Good stuff! I love the BTS coverage.
Thanks for your view into the world of the Gaffer....much more than one might imagine. Mucho respect !
Sir, you are amazing, the insight that you provide is so helpful !
Thank you, Petar! Glad to be of some help.
Had me at 'gaffer humour'. Good stuff as always, Luke. Thanks
:)
Love seeing these vids. I learn a lot. Thanks
Nice work!
Great video Luke! Love the cutting between the BTS walkaround and the final spot. Awesome in depth video!
Thank you, Gavin. If you don’t already subscribe, check out the latest from Gaffer and Gear: th-cam.com/video/_pdyvZyte1o/w-d-xo.html
Fantastic spot and beautifully lit!
:)
Just found your channel! Really really loving the content!
Glad to hear it, Josh... welcome!
I love these behind the scenes segments; I love seeing how you lit a scene and then watching the final image.
You lit all of those scenes in one day?
Above the car had 8x8 1stop of diffusion and a 1stop screen?
That's a great way to light the interior of a fridge.
Was there a creative decision to keep the color of the lighting uniform throughout all the scenes, instead of warming it up for "India" or changing it for "Chile?"
There's a lot going on here; this is a video I will definitely be re-watching.
The airport was one long day and the other scenes were another day.
I’m not sure what diffusion was in the 12x above the car, but yes, it was still to much light so the net was added.
The fridge was a diffused litegear strip. I had the 2’ RGB Quasar ready to go, but we didn’t need it. I also had some Litegear strips under the kitchen counter so it wouldn’t be a dark hole.
I don’t remember having a separate discussion about color balance following the storyline, but that doesn’t mean it didn’t happen. DP, Chris Gonzalez, usually does the post color, so I probably just followed whatever he asked for... :)
That was Brilliant - Australia THANKS
I didn't quite got what's a location vignette, either way I learned a lot from this. You are awesome
I love your videos mostly because you tend to place the lights more or less where i would have on those sort of shoots but get very different results. On those "electricity impaired" shoots i always bring two 575s that i know i'll use with medium spot or spot lens to create pools of light in background. I make sure they are smaller units (k5600 or LTM) so the lights can be easily hidden that way i can have nice strong backlight on some background elements.
hi sir, is it possible to use 750w source four leko for the same purpose ?
Yes, 750’s are great! If you want to have a daylight balance you’ll obviously lose a fair amount of output, but you knew that:)
Great video, Luke! We're all these vignettes shot in a single day? How large was the crew? Great results!
Two days... airport one day and the others on the second day. I think we were 2+2 and maybe we got a swing for the airport day.
So cool.
Excellent piece. Thanks for taking us behind the scenes. Are you shooting all the BTS footage? I only saw you once at the end (still shot).
Yes... the less you see of me the better:)
Your bts setup videos are so invaluable! It's so detailed. Question, any particular reason why you chose Aladdin lights versus something like Litemats?
i wanna know too
I’m always looking for units that I can travel with. For me, Jokers became Area 48’s, became Astras, became Aladdins. All these units are not interchangeable: where one unit has more output but less tuneability another unit is bright and tunable, but has a small face. It’s always something!
Litemats frustrated me early on because of their funky connectors and ballasts that were not easily DMXable or run off v-mounts. Now that’s been figured out, but it took a few iterations. In the meantime, I picked up a 1x2 Aladdin and then the two 3x3’s. LiteMats are great: light, thin, and readily available, but they do take up a fair amount of room because they don’t fold up. To be fair, I don’t break down the Aladdins too often either because I’ve been working on a better framing system that will travel well. That will show up in an upcoming episode:)
The Aladdin is not perfect either. I wish the 350w power set up was better designed, for instance.
One other reason I haven’t yet gotten into Litemats is that DP’s have not specifically requested them or have been fine with the Aladdins... That’s my story and I’m sticking to it:)
@@meetthegaffer Thank you! It all make sense. Looking forward to more of your videos!
Awesome BTS! How was it getting all the equipment through airport security?
We had handlers, so the gear was no problem... but we humans had to go through the regular line:)
I saw your video a few months ago there are better than a Mastter Class in my filmschool in Barcelona. Keep doin it!
Ha, ha! I doubt that, but I’m glad you find them helpful:) At least you’re going to school in a cool city!
thanks for the great video luke! how are you dealing with the likely +/- green bias in locations such as the grocery store? the aladdin panels don't allow you to compensate for this, do they?
As you point out, neither the Aladdins nor the Astras allow +\- grn tuning, but we figured we’d let the store lights go and just get the Kelvin close and have our lights be the main light on the talent and block the house lights near camera. Having RGB tunable lights is optimum, but large spaces often have more than one color source, so unless you have time and resources to replace or gel, it’s not always possible to just tune to one color. Sometimes you just control what’s illuminating the talent and go with:) Eventually everything will be RGBW and tuneable, right!?
@@meetthegaffer we can only hope!
@2.55 the JoLeko bounced into the floor, was that for the counter front, or for the cashier or both???
Counter front. Just a little something. At that point we were running out of time, so we used what was quickest to make it happen:)
What is the output on the aladins? They seemed to be used as the key for most of these. Curious how much you're getting for reading.
The Aladdin’s in this case were used as a sort of front fill, where the Skypanels were often creating the main motivating source. I do often use the Aladdins as a Key source for smaller interviews. I’m not sure what my stops were on those vignettes. The 350W, for instance, is not as punchy as the S60 Skypanels because the wattage is a little lower and the overall source size is larger which means the emitters are more spread out. However, I like the Aladdins and the Celeb 850 not because they have less output, but because I can put them into play and know that I’m starting with a larger source size without having to put a frame of diffusion in front to spread it out. I certainly can, but the size is already larger, which is usually my goal:) Hope that helps even though I didn’t answer your question directly!
Luke Seerveld Thanks so much luke! Totally agree. Starting with larger source sizes is always nicer. I see now why you use them so often!
So when you blew the fuse, I assume they turned the circuit back on so that you could use your other lights?
We actually had to work around the blown fuse for that first set-up.
Love your videos! How are you able to have a pattern in an 800 Joleko without burning up the gobo? I've had no luck!
Hmmm... I use regular theatrical gobos that one could use in a 750w tungsten ellipsoidal. Sorry, I’m not sure.
@@meetthegaffer Midas touch! Are you using them on both 400s and 800s with no problem?
Yes. I don’t own a 1600, so just the 800, 400, and of course the ETC DaylightHD LEDs, but they don’t have the same kind of heat:)
2:59 Titan Tube at the wall - how was that gripped?
I think it was magnets. I have some smaller round magnets from rigwheels that have 1/4-20 thread in the middle. You can attach those to the metal clamps that come with the tubes. Pretty slick for metal surfaces.
@@meetthegaffer nice!!!!
Would a ballast on the m18 keep it from blowing a 15a circuit?
No:)
M18 has blown the fuse? Would an M18 thru diffusion have been enough output there? What do you think?
We are stuck in 120V land, so our M18’s are always on the edge of blowing regular 20A circuits. I think an M18 would have had a fighting chance, as we say, but it’s always good to have back up and alternatives:)
Can anybody recommend the manfrotto wallspreader "cross pole" or the auto pole (or is auto pole for vertical mountings only?). Or what wall spreader would you get to be able to get a couple aputure 300d up in the roof? I dont whant to use wood based
Would you consider a Modern Studio pipe telescoping wall spreader?
Hey Luke: Noticed you got a Sekonic meter sitting on your desk, What kind is that ? Lovin the Channel out in Indiana .
Thanks David
Hi David, The meter on the desk is a 700 color meter. I keep the 800 in the truck:)