John Harrington - AssignmentConstruct - What We Use

Here is a video segment on the Hotlight Kit, Tota’s and Omni’s that we use. Below you will find the transcript of the Video.

Transcript:

Hi, I'm John Harrington and we're going to break out and break down the wide variety of equipment we use to deliver images to our clients. Next we are going to show you one of the equipment kits we use when we are traveling on assignment. Each kit is different and has a very specific purpose. So lets take a look.

In addition to the Lowel DP's that we use, we also use Omni's and Tota's, just different versions of a hot light.

The Omni is really nice because you can spot it and it's a smaller and lower power light then the DP's are. So we carry 3 of these Omni's, we have extra bulbs for these Omni's, there and there.

We also have 4 of the Lowel Tota's, 2 there and 2 beneath. The nice thing about the Tota's, it's a long floodlight essentially that you can nominally focus. In addition to the Tota's we have these cords as well for each of the Tota's and Omni's.

So that's the Omni and Tota's box.

Here is a video segment on the Hotlight Kit, Tota’s and Omni’s that we use. Below you will find the transcript of the Video.

Transcript:

Hi, I'm John Harrington and we're going to break out and break down the wide variety of equipment we use to deliver images to our clients. Next we are going to show you one of the equipment kits we use when we are traveling on assignment. Each kit is different and has a very specific purpose. So lets take a look.

In addition to the Lowel DP's that we use, we also use Omni's and Tota's, just different versions of a hot light.

The Omni is really nice because you can spot it and it's a smaller and lower power light then the DP's are. So we carry 3 of these Omni's, we have extra bulbs for these Omni's, there and there.

We also have 4 of the Lowel Tota's, 2 there and 2 beneath. The nice thing about the Tota's, it's a long floodlight essentially that you can nominally focus. In addition to the Tota's we have these cords as well for each of the Tota's and Omni's.

So that's the Omni and Tota's box.

Here is a video segment on the Hotlight Kit DP’s that we use. Below you will find the transcript of the Video.

Transcript:

Hi, I'm John Harrington and we're going to break out and break down the wide variety of equipment we use to deliver images to our clients. Next we are going to show you one of the equipment kits we use when we are traveling on assignment. Each kit is different and has a very specific purpose. So lets take a look.

One of the things we find ourselves using a lot when shooting video also when we need to have some hot lights where the color temperature is going to match a room or we just need to accent a room that we know has all tungsten lighting in it we'll use one of our hot light kits.

This hotlight kit is our Lowel DP hot light kit. We've got 3 DP's and you can see actually one of them is missing, that's because we're using it on the set here.

So in the case we have extra Lowel DP lamps in case one goes out, we have wire scrims, half wire scrims, another half wire different color scrim with a different density, full scrims, and then scrims that kind of graduate off so that it's a little denser on the top, medium dense, and then nothing on the bottom.

Here is a video segment on the Hotlight Kit DP’s that we use. Below you will find the transcript of the Video.

Transcript:

Hi, I'm John Harrington and we're going to break out and break down the wide variety of equipment we use to deliver images to our clients. Next we are going to show you one of the equipment kits we use when we are traveling on assignment. Each kit is different and has a very specific purpose. So lets take a look.

One of the things we find ourselves using a lot when shooting video also when we need to have some hot lights where the color temperature is going to match a room or we just need to accent a room that we know has all tungsten lighting in it we'll use one of our hot light kits.

This hotlight kit is our Lowel DP hot light kit. We've got 3 DP's and you can see actually one of them is missing, that's because we're using it on the set here.

So in the case we have extra Lowel DP lamps in case one goes out, we have wire scrims, half wire scrims, another half wire different color scrim with a different density, full scrims, and then scrims that kind of graduate off so that it's a little denser on the top, medium dense, and then nothing on the bottom.

Here is a video segment on the Gels and Gelly Rolls that we use. Below you will find the transcript of the Video.

Transcript:

Hi, I'm John Harrington and we're going to break out and break down the wide variety of equipment we use to deliver images to our clients. Next we are going to show you one of the equipment kits we use when we are traveling on assignment. Each kit is different and has a very specific purpose. So lets take a look.

One of the things that we use to adjust the color, whether it's a color gel or color correction, for the shoots that we do, especially in boring office buildings is we will add color to the background with the background strobe.

Some situations we find ourselves in we need to actually convert a tungsten bulb to a daylight bulb. So that's what we use here with this gelly roll. This gelly roll actually contains all of the various daylight to tungsten conversions. So if we have daylight lights we are going to go from a daylight light to a tungsten color temperature. Let's go through each one of these and talk a little about each one.

In this gelly roll, we have a wide variety of well-used gels. In addition, we have gone through and pulled out from each one of the gels a Velcro with a color in it so if we are trying to hold the color up to the light we can see what color the light is going to look like. So we go from yellows to dark greens.

In a situation in where we have what's called a true blue, or the blue of the RGB spectrum. We actually put the spectrum in down here. So each of the gels have their own number. The gels actually come with a very small number typed on it with a little label. We have actually gone through and put in the gel number so we know when to reorder. We have various grays, reds, blues, and greens.

It's all these colors that allow us really to take an office environment that may be really boring and add these gels over the strobes to make the office environment look that much better. So that's our color gel kit. The gel kit stores nicely and neatly inside the gelly roll. They make them in several different colors. Gray is another color that we have had in the past. Currently, we are using red to indicate that theses are the color gels as opposed to color correcting or color temperature gels.

Our next gelly roll is our CTB and our Plus Green. The CTB allows us to take a tungsten light source and convert it into daylight. Using a variety of different blue gels. Often times we need to convert daylight strobes into fluorescent color temperature lights so that the lights we are putting into a scene match the lights that we are using in the scene itself that are ambient lights. So to do that we use the green or what's called Plus Green. There are varying shades of Plus Green. There's Plus Green, half Plus Green, quarter Plus Green, and even eighth Plus Green.

We have gone through and labeled each one of the gels so we know exactly what they are. In addition, we have a color conversion filter which lets us know all of the color temperature specs in the gelly roll. This is something that we did, this is not something that comes with the gelly roll, because you can pretty much put any gel or any color you want into these gelly roll. We have chosen to use blue to signify all the blue CTBs and all the varying shades of Plus Green. So that is our CTB and Plus Green gelly roll.

Our next gelly roll is our CTO and minus green gelly roll. Let's have a look at that. It is signified by the orange, which is typically used as we refer to our CTO gelly roll. Our CTO gelly roll, most people will be using those to put a tungsten gel in front of their strobe in order to convert daylight into tungsten. We have gone in again and marked CTO, half CTO, eighth CTO, so that we know which gel is which.

When we have a situation in where we want to convert fluorescent into daylight, that's when we use what's called minus green.

Here is a video segment on the Gels and Gelly Rolls that we use. Below you will find the transcript of the Video.

Transcript:

Hi, I'm John Harrington and we're going to break out and break down the wide variety of equipment we use to deliver images to our clients. Next we are going to show you one of the equipment kits we use when we are traveling on assignment. Each kit is different and has a very specific purpose. So lets take a look.

One of the things that we use to adjust the color, whether it's a color gel or color correction, for the shoots that we do, especially in boring office buildings is we will add color to the background with the background strobe.

Some situations we find ourselves in we need to actually convert a tungsten bulb to a daylight bulb. So that's what we use here with this gelly roll. This gelly roll actually contains all of the various daylight to tungsten conversions. So if we have daylight lights we are going to go from a daylight light to a tungsten color temperature. Let's go through each one of these and talk a little about each one.

In this gelly roll, we have a wide variety of well-used gels. In addition, we have gone through and pulled out from each one of the gels a Velcro with a color in it so if we are trying to hold the color up to the light we can see what color the light is going to look like. So we go from yellows to dark greens.

In a situation in where we have what's called a true blue, or the blue of the RGB spectrum. We actually put the spectrum in down here. So each of the gels have their own number. The gels actually come with a very small number typed on it with a little label. We have actually gone through and put in the gel number so we know when to reorder. We have various grays, reds, blues, and greens.

It's all these colors that allow us really to take an office environment that may be really boring and add these gels over the strobes to make the office environment look that much better. So that's our color gel kit. The gel kit stores nicely and neatly inside the gelly roll. They make them in several different colors. Gray is another color that we have had in the past. Currently, we are using red to indicate that theses are the color gels as opposed to color correcting or color temperature gels.

Our next gelly roll is our CTB and our Plus Green. The CTB allows us to take a tungsten light source and convert it into daylight. Using a variety of different blue gels. Often times we need to convert daylight strobes into fluorescent color temperature lights so that the lights we are putting into a scene match the lights that we are using in the scene itself that are ambient lights. So to do that we use the green or what's called Plus Green. There are varying shades of Plus Green. There's Plus Green, half Plus Green, quarter Plus Green, and even eighth Plus Green.

We have gone through and labeled each one of the gels so we know exactly what they are. In addition, we have a color conversion filter which lets us know all of the color temperature specs in the gelly roll. This is something that we did, this is not something that comes with the gelly roll, because you can pretty much put any gel or any color you want into these gelly roll. We have chosen to use blue to signify all the blue CTBs and all the varying shades of Plus Green. So that is our CTB and Plus Green gelly roll.

Our next gelly roll is our CTO and minus green gelly roll. Let's have a look at that. It is signified by the orange, which is typically used as we refer to our CTO gelly roll. Our CTO gelly roll, most people will be using those to put a tungsten gel in front of their strobe in order to convert daylight into tungsten. We have gone in again and marked CTO, half CTO, eighth CTO, so that we know which gel is which.

When we have a situation in where we want to convert fluorescent into daylight, that's when we use what's called minus green.

Here is a video segment on the California Sunbounce kit that we use. Below you will find the transcript of the Video.

Transcript:

Hi, I'm John Harrington and we're going to break out and break down the wide variety of equipment we use to deliver images to our clients. Next we are going to show you one of the equipment kits we use when we are traveling on assignment. Each kit is different and has a very specific purpose. So lets take a look.

We love the California Sunbounce Kits we use. We used to have some plastic frames, but they just didn't do the trick. We have in here the Sunbounce, the Sunbounce Pro, and the SunSwatter. All of them fit nicely and neatly into this one unit.

On the sides are individual pouches, which hold gold reflectors on one side and white on the other. We have various translucents. One translucent here, is a little thinner than this translucent over here. This translucent here, as we've labeled it ourselves, knocks it off 1/3 of a stop, this translucent over here knocks it off 2/3 of a stop, so you can see the difference in density between these which just cuts off more light or a little less light.

In addition, in this kit, is an arm, nicely accompanied by a ball, so that when you have it braced upon your waist here, you're actually not digging into your hip with the metal on the end it's got a ball and it came with it that way which is really nice. It's actually a Bogen avenger that California Sunbounce has modified.

Also in here is a boom arm with a Hollywood Head on the end. It's a Bogen avenger. You can attach another boom arm onto the top of this stand The boom arm slips in and will attach to the SunSwatter or Sunbounce Pro, any one of the units, all here. You can get this up above your subject if you need to.

Okay, so in this pack is the Sunbounce Pro, the straight Sunbounce, an extra Sunbounce, and the SunSwatter all of this allows us to work really effectively when we're not using any flash whatsoever.

We used this once on an assignment in Chicago out in the middle of nowhere where we had no power and trekking all the way to the location where we needed to be was just not going to work with the Porties. So that's the California Sunbounce kit.

Here is a video segment on the California Sunbounce kit that we use. Below you will find the transcript of the Video.

Transcript:

Hi, I'm John Harrington and we're going to break out and break down the wide variety of equipment we use to deliver images to our clients. Next we are going to show you one of the equipment kits we use when we are traveling on assignment. Each kit is different and has a very specific purpose. So lets take a look.

We love the California Sunbounce Kits we use. We used to have some plastic frames, but they just didn't do the trick. We have in here the Sunbounce, the Sunbounce Pro, and the SunSwatter. All of them fit nicely and neatly into this one unit.

On the sides are individual pouches, which hold gold reflectors on one side and white on the other. We have various translucents. One translucent here, is a little thinner than this translucent over here. This translucent here, as we've labeled it ourselves, knocks it off 1/3 of a stop, this translucent over here knocks it off 2/3 of a stop, so you can see the difference in density between these which just cuts off more light or a little less light.

In addition, in this kit, is an arm, nicely accompanied by a ball, so that when you have it braced upon your waist here, you're actually not digging into your hip with the metal on the end it's got a ball and it came with it that way which is really nice. It's actually a Bogen avenger that California Sunbounce has modified.

Also in here is a boom arm with a Hollywood Head on the end. It's a Bogen avenger. You can attach another boom arm onto the top of this stand The boom arm slips in and will attach to the SunSwatter or Sunbounce Pro, any one of the units, all here. You can get this up above your subject if you need to.

Okay, so in this pack is the Sunbounce Pro, the straight Sunbounce, an extra Sunbounce, and the SunSwatter all of this allows us to work really effectively when we're not using any flash whatsoever.

We used this once on an assignment in Chicago out in the middle of nowhere where we had no power and trekking all the way to the location where we needed to be was just not going to work with the Porties. So that's the California Sunbounce kit.

Here is a video segment on the Jacobson Blimp that we use. Below you will find the transcript of the Video.

Transcript:

Hi, I'm John Harrington and we're going to break out and break down the wide variety of equipment we use to deliver images to our clients. Next we are going to show you one of the equipment kits we use when we are traveling on assignment. Each kit is different and has a very specific purpose. So lets take a look.

One of the things we use a lot is our Jacobson Blimp. The camera is often too loud for us to shoot on a soundstage, movie set, or in other areas where silence is critical. These cameras as you probably know by now are awfully loud.

We pack it in a Versa-Flex case, which is a semi soft case but you can still stand on it. The blimp is actually a hard case, and inside the case is a cut out for the camera with a remote. The camera actually fits in with the remote connecting to the camera. The camera slides in nicely, neatly inside the case. We use mostly our prime lenses for this.

In this case we've got a 35 1.4. The 35 1.4 goes on with the lens tube. These lens tubes are fitted to each lens. Now when you fire it, now the camera is much quieter, much less likely for the noise to be picked up from a sound stage microphone. Each tube is in here; each lens has a different tube.

There's the 24-70 tube, this tube also works for the 135. One of the nice things about the tube when you are using a zoom is the outer ring. The outer zoom ring is actually slightly larger on the camera. When you put the lens in the tube, the foam inside the tube actually grabs the zoom ring and lets you zoom the lens, so it does actually work very well with the zoom lens.

Other tubes fit on the blimp as well. This tube is for an 80 – 200. So this case just holds the blimp and the tubes, no cameras typically are stored in here. So we have the long tube, the mid tube, and the small tube, all that store in here. We tuck our finger in, and pull the lenses off. It's pretty easy to switch lenses.

Now the lens is on, stick your finger in there and take the lens out. Camera unpacks same way, simply disconnect there. And that's the Jacobson Blimp.

Here is a video segment on the Jacobson Blimp that we use. Below you will find the transcript of the Video.

Transcript:

Hi, I'm John Harrington and we're going to break out and break down the wide variety of equipment we use to deliver images to our clients. Next we are going to show you one of the equipment kits we use when we are traveling on assignment. Each kit is different and has a very specific purpose. So lets take a look.

One of the things we use a lot is our Jacobson Blimp. The camera is often too loud for us to shoot on a soundstage, movie set, or in other areas where silence is critical. These cameras as you probably know by now are awfully loud.

We pack it in a Versa-Flex case, which is a semi soft case but you can still stand on it. The blimp is actually a hard case, and inside the case is a cut out for the camera with a remote. The camera actually fits in with the remote connecting to the camera. The camera slides in nicely, neatly inside the case. We use mostly our prime lenses for this.

In this case we've got a 35 1.4. The 35 1.4 goes on with the lens tube. These lens tubes are fitted to each lens. Now when you fire it, now the camera is much quieter, much less likely for the noise to be picked up from a sound stage microphone. Each tube is in here; each lens has a different tube.

There's the 24-70 tube, this tube also works for the 135. One of the nice things about the tube when you are using a zoom is the outer ring. The outer zoom ring is actually slightly larger on the camera. When you put the lens in the tube, the foam inside the tube actually grabs the zoom ring and lets you zoom the lens, so it does actually work very well with the zoom lens.

Other tubes fit on the blimp as well. This tube is for an 80 – 200. So this case just holds the blimp and the tubes, no cameras typically are stored in here. So we have the long tube, the mid tube, and the small tube, all that store in here. We tuck our finger in, and pull the lenses off. It's pretty easy to switch lenses.

Now the lens is on, stick your finger in there and take the lens out. Camera unpacks same way, simply disconnect there. And that's the Jacobson Blimp.