From American Cinematographer, Better Safe Than Sorry by Jay Holben (June 1998)
Darren Hart and Alex Martinez of Xenotech demonstrated the safe operation of a 2k Xenon fixture, as well as the re-lamping procedure. They explained that the gas contents within the Xenon globe, even at a cold stage, are under six atmospheres of pressure; therefore, any technicians who handle the bare globe must wear a lead safety suit and face mask to protect them from the possibility of lamp explosion.
I read, discuss, and discover new things about cinematography everyday. Most of it, I consider incredibly interesting. Everyday I will share one of those things, maybe more if I have time.
Showing posts with label Xenon. Show all posts
Showing posts with label Xenon. Show all posts
25.5.09
Gary Tandrow: Jumbo Lights
From American Cinematographer, Storaro and Bulworth by Garrett Brown (June 1998)
On Bulworth, Storaro used so-called "Jumbos"—large multi-globe frames with sixteen 28-volt landing lights each—and a whole range of "Mini-Jumbos" in diminishing sizes, as well as a series of "Tornado" lights using 120-volt Fay globes. They all run on 220 volts and are always pre-rigged to be dimmable with his small state-of-the-art digital panels. "Jumbos" provide incredible punch outdoors. At great distances they become "puntiform" sources, except that, unlike conventional Fresnels, the arrays can be spread out horizontally.
"They are only 10K each, but put out as much [light] as two or three Xenons. The bang for the buck is unbelievable."
- Gary Tandrow, Gaffer for Storaro on Bulworth
12.5.09
Jordan Cronenweth: Shafts of Light & Smoke
From American Cinematographer, Cinematography for Blade Runner by Herb A. Lightman and Richard Patterson (July 1982)
"After many tests with various units, gaffer Dick Hart came up with the most effective light to do the job, a Xenon spotlight commonly used for night advertising at sports events. This concept gave us some wonderful opportunities. For example, there's a late-night scene in Deckard's apartment kitchen which was played with the lights out. He has just had a hell of a struggle with one of the replicants. Having barely survived, he is now standing near the refrigerator. Rachel [Sean Young] is standing by the sink, which has a window above it. She is illuminated by a soft backlight through the window and the last traces of light filtering across the room from the refrigerator. Occasionally, one of those strong beams of light cuts through the sink window and glows the room just enough to read her face.
Naturally to create shafts of light, one must have some medium, which necessitated the use of smoke. The story lent itself very well to it, in the context of a highly polluted environment. It was very interesting to work with this constant atmosphere. Smoke is wonderul photographically, but not without its problems. It's hard to control, mainly due to drafts, and a lot of people find it objectionable to work in. Beyond this, it's important to keep the smoke level density constant, as a very subtle change in this density can result in dramatic changes in contrast. The only practical way to judge smoke density is by eye. [He jokingly adds,] I find that a good density is achieved just before I lose consciousness."
Cronenweth wanted to maintain the same texture even in situations where smoke wasn't used as heavily, and accomplished this by using low-contrast filters. He details, "We changed filters in conjunction with the angle of light and density of smoke. The stronger the backlight, the lighter the filter."
- Jordan Cronenweth, ASC
"After many tests with various units, gaffer Dick Hart came up with the most effective light to do the job, a Xenon spotlight commonly used for night advertising at sports events. This concept gave us some wonderful opportunities. For example, there's a late-night scene in Deckard's apartment kitchen which was played with the lights out. He has just had a hell of a struggle with one of the replicants. Having barely survived, he is now standing near the refrigerator. Rachel [Sean Young] is standing by the sink, which has a window above it. She is illuminated by a soft backlight through the window and the last traces of light filtering across the room from the refrigerator. Occasionally, one of those strong beams of light cuts through the sink window and glows the room just enough to read her face.
Naturally to create shafts of light, one must have some medium, which necessitated the use of smoke. The story lent itself very well to it, in the context of a highly polluted environment. It was very interesting to work with this constant atmosphere. Smoke is wonderul photographically, but not without its problems. It's hard to control, mainly due to drafts, and a lot of people find it objectionable to work in. Beyond this, it's important to keep the smoke level density constant, as a very subtle change in this density can result in dramatic changes in contrast. The only practical way to judge smoke density is by eye. [He jokingly adds,] I find that a good density is achieved just before I lose consciousness."
Cronenweth wanted to maintain the same texture even in situations where smoke wasn't used as heavily, and accomplished this by using low-contrast filters. He details, "We changed filters in conjunction with the angle of light and density of smoke. The stronger the backlight, the lighter the filter."
- Jordan Cronenweth, ASC
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