Location Rigging

Today was the case of transporting the equipment, dressing the set and making everything ready for the first day of filming. Upon arrival Russ Greening had already rigged up all of the cables I had requested. Whilst others started to dress the set I spoke to him and went through all of the cabling. With fuses located on the distro box and where the power steps down I am much happier knowing the main power box is near on impossible to trip.


All the cables checked out okay. Looking at our lights Russ provided a few additional power strips, and also rolls of CTO and CTB. Talking through the M18 Arri provided I am happy with its use, the difference in colour balance is where the CTO or CTB can become vital.


In terms of cable management with the amount I will have to be running I will simply close off particular aisles from everyone on set. In a domestic environment it is easy enough to tape down any tripping hazards, but the vast amount makes it unrealistic to. Any loose cables near acting areas will be taped.

My main worry of the day was whether my intended idea of bouncing light off the ceiling would work. Hooking up an Arri 2K in an adjacent aisle and bouncing over the shelves proved a success! One light was enough light for illuminating, so for wider shots it will suffice. For closer ones I can use an Arri either side of the aisle and bounce smaller lamps closer for minor details or LED panels.


Below shows how well illuminated two bounce Arri 2K lamps worked for lighting the aisle. In this instance I will have to conceal some smaller lamps towards the end of the aisle to point and illuminate the deli counter area. I can already predict a 650W Arri either side, with LED panels inside the cabinet. Ideally another 2K would serve the job well, but as the shot is down the length of two aisles I will have to use smaller lamps to the same effect.



It is such a relief to have my plans for lighting translate into the studio. This will require clever cable management and light placement in consideration for each shot. All of us went over the floor plan to figure out how we will be lighting each sequence, and also how this can affect the schedule as rigging time between sections will be dramatically increased due to running lamps from the floor as opposed to the existing overhead rig.

I am loving the challenge I am being presented with, definitely making it a more enjoyable experience than simply turning on an overhead rig. It has proven a huge success to the naked eye, so hopefully this will translate across to the RED One over the weekend shoot.


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