A feature film? How did it happen?
“In the autumn of last year, I happened to come across news of a film project entitled “Im Winter, so schön” (‘In the winter, so beautiful’) in a crowd-funding article in the newspaper. This was to be a 90-minute feature film for the cinema and was to be the thesis of three students from Aachen who, among other things, were still in search of lights and cameras at the time. As you know, we ourselves are from the field of photography, but for some time, we have been turning our attention to the moving image and had therefore also invested in a broncolor HMI light, initially really only to professionally-light shorter clips and “Making ofs”. However, this project and its variety of demands, appealed so much to me that I got in touch and offered my help.
That sounds interesting, now tell us of your experiences with the HMI lights.
The sets were as varied as they could be. From outdoor shots during the day which required very little effort, via a dramatic run through dark basement passages, to the light-flooded hospital atmosphere; there were even night shots in the pouring rain and in the snow, deep in the forest, at night inside a car – the use of the light was, at times, considerable.
Behind the Scenes “Im Winter so schön”
Actually pretty well everything that broncolor has to offer as continuous light was used here – from the small DW200 to the bright Para88. I was able to fall back on the light shapers which I knew from photography; almost everything from the flash range can also be used with HMI lights and so you immediately feel really at home. The way one uses the light is very different though, with films you can use the shade much more than in advertising and with stills.
There were other new things to discover, too, for example, the PAR reflectors with their different scattering lenses and wide range of applications; the Litepipe, wow, that’s something one really needs to try! For example, we flat-mounted it to the ceiling of the basement passages with only a very narrow streak of light being emitted; we also used it to emphasise the sterile atmosphere of an operating theatre. However, everyone on the set thought that what was most convincing was how well the equipment stood up to being used in the rain.
With the broncolor equipment, I was able to quickly and safely realise all the lighting moods, even extreme situations in snow and rain presented no problems. Thanks to the state-of-the-art electronic ballasts, not only was the use with the generators no problem, but the light was also absolutely homogeneous and perfect, even in the slow-motion shots.
HMI light has high efficiency, relatively little heat development and has a daylight temperature which means that much of the light is not filtered out again and there also isn’t any image noise if you don’t do it. One hardly needs to mention the great light shaper! My personal highlights are the Para88 and now also the PAR400er. The power output has succeeded well, maybe there could be something even more powerful in the future as, on one occasion, I did have to run two parallel lights.
From me, and also on behalf of the whole team, many thanks again for broncolor’s kind support. I’m really looking forward to being able to see the finished film on the screen soon.
Which broncolor equipment did you use?
2x HMI 400 Crossover Kit
2x HMI 575.800 lamp
1x PAR reflector to F400
1x Fresnel with 5 lenses
1x Fresnel lense to PAR 400
2x 4-barn doors for PAR 400
1x Litepipe F400
We thank you for the conversation.
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