Hi. I just ordered an old school Arri 2k for studio use. Can you recommend working distances? I’ll be shooting through magic cloth. Also is it ok to put a 1k bulb I. If I ever needed to? Thanks!
Hi Jesse, Thanks for your message, I haven’t worked with magic cloth personally, so can’t speak to how heat resistant the fabric is. I have been trying to find an answer for you but so far haven’t been able to find anything definitive. With textile diffusers I would typically put them on a 4x4 frame and have them around 3+ feet away from the barn doors, at which distance you should be pretty safe I would imagine. If you’re using a larger diff your’ll probably have to get it back further than that anyway. Play it safe. You probably won’t want to get a 2k too close to your talent anyway, unless it’s the dead of winter! Not sure about the 1k bulb. A quick poke around the Arri website seems to indicate that the Arrilite open face 2k (which we have) can only accept 2k bulbs (I don’t think they even make a 1k in that size bulb). Though it looks like the 120v version of the T2 fresnel may be able to accept 1k bulbs. Hope that is somewhat helpful 🤣
@@CreativePathFilms Thanks for the info. Appreciate it. These Arri lights produce such beautiful light I'll def keep researching and testing to know them better. Great channel!!
You say the light temp changes when you dim the light. If you use a CTB gel to correct for daylight and dim the light, is there some calculation that has to be done or is the effect of the gel on the Kelvin reading the same?
Hey Leon, great question! It’s all relative. If the tungsten source shifts (for example) 500 Kelvin warmer as the light is dimmed, and then you add CTB to that, the result will still be 500k warmer. To get it to a daylight value of 5600 Kelvin from a dimmed tungsten light, additional gels would be required. To know precisely how much a light source shifts when dimmed, you would need to use a spectrometer, like the sekonic c800 to get a precise readings.
Thank you! It can be tricky. Because of the heat you’ll need a large sheet of CTB to go on the front, or gel through a 4x4 frame or similar. If you get it too close to the source, the gel can discolor or melt.
@@CreativePathFilms Great, thank you. In your testing have you ever discovered a decrease in light output using a single sheet of CTB 201 vs layering two sheets of CTB 202? 1/2 CTB is blocking less light so is it a reasonable assumption that there would be no discernible difference and therefore either approach would be fine?
@@andihunt hey Andrew! Whilst I haven’t tested this with a meter to see if there is a difference, practically I’ve never had an issue doubling a half gel to get a comparable result. I’m sure there would be some variance in terms of color and output, but it would be minor. I’ve never noticed anything subjectively. If I test it, I’ll let you know what I find. You’ve made me curious now 🤣
Hello 👋, thank you 🙏, can you please share a link to where I can purchase those bulbs for the arri 800w and if possible the redheads too… I have failed to find their replacements! Thanks.
Thanks for stopping by! Thanks for the comment. This is the model you’re looking for: “Osram Lamp 64571 P2/13 DXX 800W 240V” Depending on where you are in the world, you’ll need to get r correct voltage - 110v or 240v Here’s an AU eBay link: www.ebay.com.au/itm/194233356820?chn=ps&norover=1&mkevt=1&mkrid=705-139619-5960-0&mkcid=2&itemid=194233356820&targetid=1280421173919&device=m&mktype=pla&googleloc=9068952&poi=&campaignid=10101785162&mkgroupid=124139272993&rlsatarget=pla-1280421173919&abcId=9300367&merchantid=7604792&gbraid=0AAAAAD97CxQeDnkUT4L9IYLAvCtdVVBI7&gclid=Cj0KCQjw18WKBhCUARIsAFiW7JyTqCO-E_IsruxcEWVYcsvksEtUYGQUn3xr3OtMC0wafKIb_jBSpZMaAoQbEALw_wcB
@@CreativePathFilms thank you so much 😊… I’m in Uganda 🇺🇬 and we use 240v… I really wanted to improve my work and with these lights (arri800, redheads), there’ll be much improvement in the cinematography of our work! I read appreciate what you share here and your help🙏❤️❤️❤️
@@CreativePathFilms I saw a kit of ARRI 650s for about a little over 3k and another with a 150, 300, and 650 for about 2700. Maybe one day I'll get lucky and there will be some sort of sale haha
@Lycan Visuals Keep an eye on the used market. They’re often being sold off to be replaced with LED fixtures these days. Look at auction houses, FB marketplace, filmmaking buy/sell groups and eBay. You can find real bargains on Tungsten lights. Look up and call some lighting companies/gaffers in your area and let them know you’re in the market. You could also get in touch with Film schools and see if they ever sell off gear, thats where we picked up our 2k and our 650 and 800 sets. Because the lights are pretty much bullet proof, you can save a lot of money. They’re so simple electronically that often the only thing you may need to get repaired or replaced is the power cable. Once that’s done there good for years.
Thank you. Great video. I have a question, for daylight 5600K, is it better to use Tungesten light with CTB gel or a HMI light right away? I read recently "Tungesten light emit a smoother spectrum of light than any other artificial sources, making for the most natural skin tones"
Great question! This is all my personal opinion, drawn from my own experience lighting and shooting. I’ve come to prefer using native sources. I definitely agree with that statement - but you get those benefits mostly when you’re lighting and shooting with your WB at 3200k. Tungstens full spectrum quality is hard to beat when it comes to beautiful skin tones. But I’ve always thought once a gel is applied you start to lose some of those qualities/benefits of a full spectrum source and your colour accuracy is then determined by the quality/imperfections in the gel instead. If the gel is older or starts to fade/melt this becomes really noticeable and you start to see things like green shifts. I personally feel that native 5600k sources (hmi or a high CRI/TLCI LED) look better on the skin at 5600k then a gelled tungsten fixture. But the difference is pretty negligible. Practically, I wouldn’t hesitate to mix a gelled tungsten with LED/HMI sources, nor hesitate to use a gelled tungsten if I needed to, but for the best quality that’s my preference. If you’re looking to buy a new light, I find myself using 5600k lights 95% of the time these days unless I’m in a studio environment or a location calls for a warmer tungsten look.
Depends on the situation. Tungstens are AC only lights, so if you’re using them away from mains power then yes they need a generator. They do draw quite a bit of power so if multiple lights are used power draw and circuits become a big consideration. I also cover this point in more detail in this video: ruclips.net/video/iHxANOeLoTY/видео.html
It’s a TecArt 1000w single channel dimmer. Here’s a link if you’re in AUS: secure.johnbarry.com.au/single-channel-1000w-dimmer-tec-dimpot2 This seems to be a comparable US equivalent: www.bhphotovideo.com/c/product/755346-REG/Impact_D_1000_D1000_1_000W_AC_Dimmer.html
With all the progressions (LEDs, unreal engine etc) For someone about to train as a spark now, what would be the best things to train up in to most future-proof their career and earning potential?
Thanks for putting forward this question Tyson. This is a really interesting question and one that I honestly hesitated to answer for a moment. First thing you should know, I'm a generalist (I produce, direct and shoot) and I am not a career Gaffer or spark, who's in those particular trenches everyday, so take my thoughts on board with that grain of salt in mind. If you're about to start training under a Gaffer this is a question I would be asking them, as well someone such as Andrew Lock from the channel gaffer and gear - if you're not following his channel, it's definitely worth your time! Here are my thoughts - It all comes down to the specific career path your about to start walking down and the types of productions you'll be working on. You'll be working with different a caliber of gear (read: price) if say you're working on Hollywood movies vs doing indie films vs smaller corporate productions. But even then, every job will be different and will require a slightly different set of skills. The foundations though, will never change. Electrics and power management, lighting modification and manipulation, DMX, lighting design, prep and general maintenance, on set etiquette, the right attitude. All that stuff will carry across pretty much any job at any level. So you have to have those down pat of course. Some you can research, others you'll learn on the job. If you haven't got a copy, grab "set lighting technicians handbook" by Harry C. Box. It's an absolute gold mine and well worth the investment. In terms of technology and the future, you're bang on the money. LED is where lighting has been shifting towards for many years and is now dominating. Thats undeniable. But the older technologies such as Tungsten and HMI still very much have their place (particularly in larger fixtures) and are still very much in use, so you'll need to have to have at least a base knowledge of using those tools as well. The "right tool for the right job" and all that... It definitely looks as though the industry is moving much more towards virtual production at a rapidly increasing pace and having an understanding of that process and your place in that process is very important I think. It's going to be the next fundamental shift in the industry and it's already well underway. At the moment, its being utilised more on the high-end, but that will shift with time and as the technology and process gets more affordable, so the best time to get in is now. Those are my 2-cents. I hope you find something valuable in there and I wish you the best of luck on your journey! Feel free to reach out any time. ~ Dave
If you have some Arri fresnels sitting around, you might find this one useful to. They’re the best quality frenels I’ve tested so far. ruclips.net/video/5B3hrYYSTwo/видео.html
Yes they do, you’ll need to ‘burn them in’ by running them outdoors with the barn doors attached (but open) for about an hour before you use them inside.
Loving the content, instantly subscribed! I have a question: You stated that the green and red scrim provide a 1 stop and 2 stop light reduction respectively. The scrim kits i was able to find report a 1/2 Fstop and 1 Fstop reduction respectively. What's to be believed? Is it just a matter of names? In simpler words, with the green scrim the light intensity is halved (1 Fstop) or something different? I am pretty confused, thanks in advance and keep up the good work!
Hey Fabio! Thanks for subscribing and for posting your question! Great to have you here. Yes you’re right! I’ve accidentally made an error - thanks for picking up on that. I’ll post an amendment in the description. A green scrim (single) = 1/2 stop A red scrim (double) = full stop
Just a quick amendment: okay so turning the light off for small adjustments such as panning, tilting and gelling might be a bit overkill. For large moves, definitely switch it off though! When you used to teach at a film school like I did, where these blew all the time, I guess you get a little over cautious with your instruction! Haha. Just be careful guys. Also, I made an error when putting this video together. Green scrims are a 1/2 stop light reduction, and red scrims are a full 1-stop light reduction. The half scrims will reduce the output on half of the area of illumination, so is useful for reducing the output hitting the foreground vs the background. Useful for when lighting multiple subjects at different distances in the one frame.
07:28 The green colored scrim reduces the light by a 1/2F-stop, while the red colored scrim is more dense and reduces the light by a 1F-stop. The half single scrim is often used to divide the foreground and the background lighting resulting in an 1/2F-stop less light on the foreground area than the background.
@@CreativePathFilms No problem, I like ur videos about C-Stand and lighting fixtures, it's really detail-oriented and clear. Rarely seeing these kind of topic on the internet.
Thank you so much Ebuzer! Thank you for taking the time to leave such a nice comment 😊 ...and I’m sorry but the light had it coming. It was throwing me shade all day. 😂
The one I have features briefly at 1.37 in this video. It’s by Britek and it’s as old as the lights themselves, with a custom modification to the speedring so it can slot into the barn door/accessories slot. A quick google tells Britek still sell tungsten softboxes. This kit was all purchased second hand and was customised, not sure what’s currently the best out of the box solution. ruclips.net/video/xKLINS7uANg/видео.htmlsi=I9OX2p0wgtjDrwcC
![BLACK BAG - Official Trailer [HD] - Only in Theaters March 14](http://i.ytimg.com/vi/Du0Xp8WX_7I/mqdefault.jpg)
Thank you so much. The why you teach is perfect for me. In detail and to the point. No bla bla bla. Thanks again from Pakistan
It’s our pleasure! Thank you so much for your comment and I’m thrilled you enjoyed the video 😊
Hi. I just ordered an old school Arri 2k for studio use.
Can you recommend working distances? I’ll be shooting through magic cloth.
Also is it ok to put a 1k bulb I. If I ever needed to?
Thanks!
Hi Jesse,
Thanks for your message, I haven’t worked with magic cloth personally, so can’t speak to how heat resistant the fabric is. I have been trying to find an answer for you but so far haven’t been able to find anything definitive.
With textile diffusers I would typically put them on a 4x4 frame and have them around 3+ feet away from the barn doors, at which distance you should be pretty safe I would imagine. If you’re using a larger diff your’ll probably have to get it back further than that anyway. Play it safe. You probably won’t want to get a 2k too close to your talent anyway, unless it’s the dead of winter!
Not sure about the 1k bulb. A quick poke around the Arri website seems to indicate that the Arrilite open face 2k (which we have) can only accept 2k bulbs (I don’t think they even make a 1k in that size bulb).
Though it looks like the 120v version of the T2 fresnel may be able to accept 1k bulbs.
Hope that is somewhat helpful 🤣
@@CreativePathFilms Thanks for the info. Appreciate it. These Arri lights produce such beautiful light I'll def keep researching and testing to know them better. Great channel!!
That they do. All the best my friend, I’d love to hear about what you learn from using them and see some of your results. All the best!
Thanks for the information 😊 keep making Sir 👏
You’re more than welcome! We certainly will ☺️
You say the light temp changes when you dim the light. If you use a CTB gel to correct for daylight and dim the light, is there some calculation that has to be done or is the effect of the gel on the Kelvin reading the same?
Hey Leon, great question!
It’s all relative. If the tungsten source shifts (for example) 500 Kelvin warmer as the light is dimmed, and then you add CTB to that, the result will still be 500k warmer.
To get it to a daylight value of 5600 Kelvin from a dimmed tungsten light, additional gels would be required.
To know precisely how much a light source shifts when dimmed, you would need to use a spectrometer, like the sekonic c800 to get a precise readings.
How do you attach CTB when using a Softbox? Thanks. Great video.
Thank you! It can be tricky. Because of the heat you’ll need a large sheet of CTB to go on the front, or gel through a 4x4 frame or similar. If you get it too close to the source, the gel can discolor or melt.
@@CreativePathFilms Great, thank you. In your testing have you ever discovered a decrease in light output using a single sheet of CTB 201 vs layering two sheets of CTB 202? 1/2 CTB is blocking less light so is it a reasonable assumption that there would be no discernible difference and therefore either approach would be fine?
@@andihunt hey Andrew!
Whilst I haven’t tested this with a meter to see if there is a difference, practically I’ve never had an issue doubling a half gel to get a comparable result. I’m sure there would be some variance in terms of color and output, but it would be minor. I’ve never noticed anything subjectively.
If I test it, I’ll let you know what I find. You’ve made me curious now 🤣
@@CreativePathFilms That's good to know. Sure is cheaper doubling it than buying a new roll of 201! Thanks for taking the time to reply. Cheers
Hello 👋, thank you 🙏, can you please share a link to where I can purchase those bulbs for the arri 800w and if possible the redheads too… I have failed to find their replacements! Thanks.
Thanks for stopping by! Thanks for the comment.
This is the model you’re looking for:
“Osram Lamp 64571 P2/13 DXX 800W 240V”
Depending on where you are in the world, you’ll need to get r correct voltage - 110v or 240v
Here’s an AU eBay link:
www.ebay.com.au/itm/194233356820?chn=ps&norover=1&mkevt=1&mkrid=705-139619-5960-0&mkcid=2&itemid=194233356820&targetid=1280421173919&device=m&mktype=pla&googleloc=9068952&poi=&campaignid=10101785162&mkgroupid=124139272993&rlsatarget=pla-1280421173919&abcId=9300367&merchantid=7604792&gbraid=0AAAAAD97CxQeDnkUT4L9IYLAvCtdVVBI7&gclid=Cj0KCQjw18WKBhCUARIsAFiW7JyTqCO-E_IsruxcEWVYcsvksEtUYGQUn3xr3OtMC0wafKIb_jBSpZMaAoQbEALw_wcB
@@CreativePathFilms thank you so much 😊… I’m in Uganda 🇺🇬 and we use 240v… I really wanted to improve my work and with these lights (arri800, redheads), there’ll be much improvement in the cinematography of our work! I read appreciate what you share here and your help🙏❤️❤️❤️
Thank you very much, we really appreciate it! We’re here to help 😊
Looking forward to owning an Arri lighting kit.
They’re brilliant. One of those pieces of kit that just work. They are super reliable, will last years of abuse and always get the job done.
@@CreativePathFilms I saw a kit of ARRI 650s for about a little over 3k and another with a 150, 300, and 650 for about 2700. Maybe one day I'll get lucky and there will be some sort of sale haha
@Lycan Visuals
Keep an eye on the used market. They’re often being sold off to be replaced with LED fixtures these days. Look at auction houses, FB marketplace, filmmaking buy/sell groups and eBay. You can find real bargains on Tungsten lights.
Look up and call some lighting companies/gaffers in your area and let them know you’re in the market. You could also get in touch with Film schools and see if they ever sell off gear, thats where we picked up our 2k and our 650 and 800 sets.
Because the lights are pretty much bullet proof, you can save a lot of money. They’re so simple electronically that often the only thing you may need to get repaired or replaced is the power cable. Once that’s done there good for years.
Thank you. Great video. I have a question, for daylight 5600K, is it better to use Tungesten light with CTB gel or a HMI light right away? I read recently "Tungesten light emit a smoother spectrum of light than any other artificial sources, making for the most natural skin tones"
Great question!
This is all my personal opinion, drawn from my own experience lighting and shooting.
I’ve come to prefer using native sources. I definitely agree with that statement - but you get those benefits mostly when you’re lighting and shooting with your WB at 3200k.
Tungstens full spectrum quality is hard to beat when it comes to beautiful skin tones. But I’ve always thought once a gel is applied you start to lose some of those qualities/benefits of a full spectrum source and your colour accuracy is then determined by the quality/imperfections in the gel instead. If the gel is older or starts to fade/melt this becomes really noticeable and you start to see things like green shifts.
I personally feel that native 5600k sources (hmi or a high CRI/TLCI LED) look better on the skin at 5600k then a gelled tungsten fixture.
But the difference is pretty negligible. Practically, I wouldn’t hesitate to mix a gelled tungsten with LED/HMI sources, nor hesitate to use a gelled tungsten if I needed to, but for the best quality that’s my preference.
If you’re looking to buy a new light, I find myself using 5600k lights 95% of the time these days unless I’m in a studio environment or a location calls for a warmer tungsten look.
What About power? Do you need a generator or somthing?
Depends on the situation.
Tungstens are AC only lights, so if you’re using them away from mains power then yes they need a generator. They do draw quite a bit of power so if multiple lights are used power draw and circuits become a big consideration.
I also cover this point in more detail in this video:
ruclips.net/video/iHxANOeLoTY/видео.html
what kind of dimmer switch is that on the tungsten Arri 800?
It’s a TecArt 1000w single channel dimmer. Here’s a link if you’re in AUS:
secure.johnbarry.com.au/single-channel-1000w-dimmer-tec-dimpot2
This seems to be a comparable US equivalent:
www.bhphotovideo.com/c/product/755346-REG/Impact_D_1000_D1000_1_000W_AC_Dimmer.html
With all the progressions (LEDs, unreal engine etc) For someone about to train as a spark now, what would be the best things to train up in to most future-proof their career and earning potential?
Thanks for putting forward this question Tyson.
This is a really interesting question and one that I honestly hesitated to answer for a moment. First thing you should know, I'm a generalist (I produce, direct and shoot) and I am not a career Gaffer or spark, who's in those particular trenches everyday, so take my thoughts on board with that grain of salt in mind. If you're about to start training under a Gaffer this is a question I would be asking them, as well someone such as Andrew Lock from the channel gaffer and gear - if you're not following his channel, it's definitely worth your time!
Here are my thoughts - It all comes down to the specific career path your about to start walking down and the types of productions you'll be working on. You'll be working with different a caliber of gear (read: price) if say you're working on Hollywood movies vs doing indie films vs smaller corporate productions. But even then, every job will be different and will require a slightly different set of skills.
The foundations though, will never change. Electrics and power management, lighting modification and manipulation, DMX, lighting design, prep and general maintenance, on set etiquette, the right attitude. All that stuff will carry across pretty much any job at any level. So you have to have those down pat of course. Some you can research, others you'll learn on the job.
If you haven't got a copy, grab "set lighting technicians handbook" by Harry C. Box. It's an absolute gold mine and well worth the investment.
In terms of technology and the future, you're bang on the money. LED is where lighting has been shifting towards for many years and is now dominating. Thats undeniable. But the older technologies such as Tungsten and HMI still very much have their place (particularly in larger fixtures) and are still very much in use, so you'll need to have to have at least a base knowledge of using those tools as well. The "right tool for the right job" and all that...
It definitely looks as though the industry is moving much more towards virtual production at a rapidly increasing pace and having an understanding of that process and your place in that process is very important I think. It's going to be the next fundamental shift in the industry and it's already well underway. At the moment, its being utilised more on the high-end, but that will shift with time and as the technology and process gets more affordable, so the best time to get in is now.
Those are my 2-cents. I hope you find something valuable in there and I wish you the best of luck on your journey! Feel free to reach out any time.
~ Dave
a lot of great info! Thank you!
Our pleasure Liz! 😊
THIS WAS INCREDIBNLY HELPFUL...THANK YOU! I CAN NOW USE MY ARRI FRESNELS
I’m so thrilled you found it so useful!!
If you have some Arri fresnels sitting around, you might find this one useful to. They’re the best quality frenels I’ve tested so far.
ruclips.net/video/5B3hrYYSTwo/видео.html
Do these lights smoke when new?
Yes they do, you’ll need to ‘burn them in’ by running them outdoors with the barn doors attached (but open) for about an hour before you use them inside.
@@CreativePathFilms Thanks for informing me! You're video's have helped me a lot
Oh thank you! I’m so thrilled to hear that 😁 have a wonderful day.
Loving the content, instantly subscribed!
I have a question:
You stated that the green and red scrim provide a 1 stop and 2 stop light reduction respectively.
The scrim kits i was able to find report a 1/2 Fstop and 1 Fstop reduction respectively.
What's to be believed? Is it just a matter of names?
In simpler words, with the green scrim the light intensity is halved (1 Fstop) or something different?
I am pretty confused, thanks in advance and keep up the good work!
Hey Fabio!
Thanks for subscribing and for posting your question! Great to have you here.
Yes you’re right! I’ve accidentally made an error - thanks for picking up on that. I’ll post an amendment in the description.
A green scrim (single) = 1/2 stop
A red scrim (double) = full stop
@@CreativePathFilms
Thanks to you for clearing up a confusion I had ☺️
No worries at all 😊
8:38
😊
Glad I found these videos, thank you for making them!
My pleasure Drew, and welcome aboard!
If you ever have any questions or requests for content, please me know!
~ Dave
Top notch presentation!
Thank you!
This should have wayyy more views.
Thank you Enrico! 😊
Always unplug the light before changing bulbs
Yes, absolutely!!!!
Just a quick amendment: okay so turning the light off for small adjustments such as panning, tilting and gelling might be a bit overkill. For large moves, definitely switch it off though! When you used to teach at a film school like I did, where these blew all the time, I guess you get a little over cautious with your instruction! Haha. Just be careful guys.
Also, I made an error when putting this video together. Green scrims are a 1/2 stop light reduction, and red scrims are a full 1-stop light reduction. The half scrims will reduce the output on half of the area of illumination, so is useful for reducing the output hitting the foreground vs the background. Useful for when lighting multiple subjects at different distances in the one frame.
07:28 The green colored scrim reduces the light by a 1/2F-stop, while the red colored scrim is more dense and reduces the light by a 1F-stop. The half single scrim is often used to divide the foreground and the background lighting resulting in an 1/2F-stop less light on the foreground area than the background.
@@_C_E_D_ you are correct, that was an error I made when putting this video together. Thanks for the note!
@@CreativePathFilms No problem, I like ur videos about C-Stand and lighting fixtures, it's really detail-oriented and clear. Rarely seeing these kind of topic on the internet.
@_C_E_D_ thank you!
Awesome Video, Very helpful
Thanks!
Thank you! It’s our pleasure :)
It was awesome, well prepared/presented video, waiting for more... Really like your video (until you curse that innocent light :)
Thank you so much Ebuzer! Thank you for taking the time to leave such a nice comment 😊
...and I’m sorry but the light had it coming. It was throwing me shade all day. 😂
Show us the softbox then
The one I have features briefly at 1.37 in this video. It’s by Britek and it’s as old as the lights themselves, with a custom modification to the speedring so it can slot into the barn door/accessories slot.
A quick google tells Britek still sell tungsten softboxes. This kit was all purchased second hand and was customised, not sure what’s currently the best out of the box solution.
ruclips.net/video/xKLINS7uANg/видео.htmlsi=I9OX2p0wgtjDrwcC