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is often not a problem. With filters or by color balancing your video camera you can adjust the color to look right. Special photo bulbs that are usually 250 or 500 watts are sold that have correct tungsten color balance. They are inexpensive but have a very short life. After about 25 hours burning time they become badly blackened, lose much of their brightness and should be replaced. Photo bulb may be either photofloods which are typically used in domed reflector units, or reflector floods which have their own built in reflector. Tungsten-Halogen bulbs are designed so they don't blacken with age. They also are usually 250 or 500 watts and are very small and rather fragile. A good bounce will usually destroy a burning halogen bulb. They are available up to 20,000 watts. The quartz glass is damaged by oils so you should always wash your hands and/or use a clean rag to touch or change a halogen bulb. Halogens are daylight color balanced. HMI (Halogen-Metal-Iodide) Bulbs are about four times as efficient in their use of electricity as tungstenhalogen bulbs so they are both brighter and slightly cooler for the same amount of electricity. They have the added bonus of being balanced for daylight (5600 to 6000 degrees K). They use standard AC current but require a heavy ballast unit to control the lamp. Although they have a very fast flicker it is typically timed to be the same frequency as film and video cameras and is not noticeable. HMI's would be a very good source of light except they are extremely expensive and far beyond the budget of all but the best heeled indie movie makers. There are two types of Fluorescent bulbs as far as filmmaking is concerned. Conventional fluorescent lights, as commonly used in public buildings, are terrible as a light source. They cast a flickering, greenish light that makes anyone look terrible. The light they produce does not contain equal amount of all the basic colors so no amount of color correction can make them look natural. Of course if this is the look you want for you movie then you're all set. Remember that the human eye adjusts to the quality of flourescent lights and film and video cameras don't. Fluorescents for film and video are available. Kino Flo makes light units for their daylight balanced fluorescent bulbs with special ballasts that make them flicker free. You can also buy Optima 32 bulbs for tungsten balanced lighting, and for daylight balance use the Vita-lite and Chroma50 tubes. Reflectors are another category of lighting instrument that are priced right for low-budget filmmaking. Use them to fill in shadows as you use the sun other other natural light sources for you key light. Crumple aluminum foil then straighten it out and paste for tape it onto large sheets of cardboard. Buy foam core boards from art supply stores with white, silver or gold foil coatings. You can also get fold up reflectors that work like the round foldup sun screens people put in their car windows to block the sun, but YIU reflectors work just as well and cost a lot less. Lensed spotlights The most contollable lighting units are the focusing spotlights which use a fresnel lens (pronounced fruh-NELL, silent "s"). They emit a bright, focused light in parallel rays that travel over a distance with less fall-off of brightness. They will cover a rather wide area with a 30 degree spread or focus down to as little as a five degree spread. These are the type of instrument traditionally most used in filmmaking. The units are relatively heavy and expensive and may be out of their league for many low-budget filmmakers. Open-faced spotlights don't use an expensive fresnel lens. They are able to focus the light beam by using a carefully designed reflector shape and moving the actual light bulb forwards and backwards. They are less expensive than fresnel spots, lighter but don't have the same crisp hard light. For low-budget filmmaking they are a good choice. Nonfocusing lights include the lowest cost lights available for filmmakers. PAR lamps look a bit like automobile headlamps. They have a built-in reflector and come in variety of wattages and coverage angles. Open bowl shaped reflectors are available in many sizes that take standard tungsten or photo tungsten bulbs. For the very lowest budget you can use clamp-on reflectors from your local hardware store. Also very inexpensive, but very bright, are quartz-halogen work lights from lumber stores. Umbrellas and softlights give very soft and attractive light. Umbrellas are just umbrellas made with a white or reflective inner surface. Shining any light into them reflects back a very broad, soft coverage. Softlight or softboxes and large cloth boxes on a metal frame with a light source inside. They also give a very broad light.
Lighting accessories Barndoors use metal flaps to cut off the light from falling on part of the set. Scrims are pieces of metal screening that lower the amount of light without changing the angle or color. Cookies are sheets of material with holes cut out. When placed in front of a light they created a dappled appearance to the set, much like when light filters through tree leaves. Century stands, or C-stands, are the stands most commonly used in the industry. They are very strong but a bit expensive for low-budget filmmakers. Sand bags are cloth bags full of sand to weight your light stands so they aren't pushed over by accident. Use Them! Gels are filters made out of a thin, heat resistant material to alter the color of your light instruments. They are available in a large range of colors and sizes.
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The Complete Online Filmmaking Refe
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which changes the logic of another
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loaded with sprocketed magnetic fil
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