Suitability

Answers to the following questions can be found by clicking on the question or scrolling this page.

• Do I really need to rent a grip truck or can I light my next interview with my trusty Arri Kit?
  
  
• What are some of the things I can do with the support of a Grip Truck that I can't do with my light kit?
  
  
• When do I need to rent a generator?
  
  
• What advantages do HMI's offer me?
  
  
• What size grip truck do I need?
  
  
• When is it appropriate to use fog in a scene?
  
  
• Are there different types of fog?

Do I really need to rent a grip truck or can I light my next interview with my trusty Arri Kit?
Like many things, the answer to this question depends on your vision. Great things can be done with a light kit in the hands of a skilled technician, but even under the best circumstances the 4,000 or so watts a light a kit offers, will only go so far. More lights equal more options, even a simple talking head interview can be helped with the equipment found on our trucks. In short let your creativity and budget guide this decision.

What are some of the things I can do with the support of a Grip Truck that I can't do with my light kit?
There's an infinite number of looks and interpretations available to a production that uses a grip truck and gaffer. For example: With the equipment found on our trucks, we can produce large soft sources that will flatter the subject being photographed. Or we can give the scene a hard edge and color it to look like it is being lit by the setting sun.

On the other hand, if all you have to work with is a light kit, you have far few options than with a grip truck. Let's say you have to light a simple home interior in which a subject will enter the kitchen, deliver a few lines at the sink and then exit. With your trusty light kit, you begin. Right away you find out, that you don't have the right hanging gear to put the lights where you want them; so you compromise. Next you discover, that when you color correct your lights, you don't have enough punch to match the light coming through the window, so you compromise by only partially correcting them. Next you realize that the use of soft sources are out of the question; because you don't have enough light to make them happen so again you compromise. By this time you have emptied your light kit and if you are lucky you have enough light to make stop.

With the lights, hanging gear, and expertise that MC Lighting & Production Services brings to the set, the harsh look and multiple shadows described above, can be transformed into smooth flowing images that will that will tell your story with out compromise.

When do I need to rent a generator?
A generator should be rented when, studio power is not available or when a tie in is not possible. You might also consider a generator when you must shoot in an unscouted location. Of course the most obvious need for a generator is when the power requirements of the shot exceeds the available power of the location or studio you have chosen.

What advantages do HMI's offer me?
When there is not enough power to drive geled tungsten lights or when a single source is desirable, MCL offers an HMI package. HMI's produce daylight with no additional filtration. They are also much more energy efficient than their tungsten counterparts. For example a 1200w. HMI par produces the same volume of light as a 5000w. tungsten instrument. Put another way, the 1200w par draws 13.8 amps, while the 5000w tungsten instrument draws 41.6 amps. A 6000w. HMI puts out the same volume of light as a 225 amp carbon arc light while drawing only 55 amps. A 12,000w. HMI puts out the same volume of light as a 350 amp carbon arc light while drawing only 83 amps. This makes HMI's very valuable in interior or exterior situations where there is not an abundance of power or a large amount of daylight is needed. The use of this type of instrument often means the difference between renting a generator or being able to work with a tie in.

HMI's are also extremely usefull when working in a fluorescent environment; since many fluorescents have wave lengths close to daylight. With a slight color correction towards the green spectrum an HMI can perfectly match most fluorescent sources.

HMI's can also be matched to tungsten sources. This, coupled with the fact that HMI's put out less heat than tungsten instruments, makes them the first choice for many DP's and Lighting Directors. Given the versatility and flexibility of HMI's they should always be considered when bidding programs that include exteriors, large interiors, or mixed lighting.

What size grip truck do I need?
The size of the package depends on the vision. The vision is determined by the producer/director. Once a creative determination has been made, it is the responsibility of the director of photography and/or lighting director to translate this "vision" into an equipment list. MCL will tailor its packages to fit your needs.

When is it appropriate to use fog in a scene?
The use of fog will lower the contrast and diffuse the image it is used with.

Are there different types of fog?
There are three major types of fog machines. First is the glycol based machines like the Rosco 1500. This type of machine is good for effects because the output of the machine quickly dissipates. Many performers and technicians find this type of machine irritating over a long period of time.

The second type of fog machine is the cracked oil fogger. The best example of this machine is the MDG Max 3000. This unit will produce air borne particles .5 to 4.5 microns in diameter. These exceedingly small particles will produce a haze that will hang in a closed room for four or more hours. Even in locations where the air conditioner must be run, hang times of a hour or more are possible. This type of fog will soften images and show off the beams of light like no other fog can.

The final type of fog machine is the dry ice machine. This type of unit produces a short lived ground hugging fog that is used mostly for stage applications.