Using PAR 64's for HD shooting

[Narwhal]

Hello!
This is my first post. I am an editor in training and a cinematographer based in Ottawa, Ontario, Canada.

I am shooting an experimental video on the Sony XDCAM EX-1 and the Canon 5D as well as the Red One later this summer. I intend to create a lighting vision with several PAR 64 and 56 fixtures. I am also using an HMI Arri Sun 2.5 Kw for ext. punch and several other lighting fixtures common in the pro production industries.

I am looking for any one's experiences with shooting and / or lighting a hazy - beamy heavy-metal hard rock type stage, concert or film experience using PARS.

Cheers!
Narwhal

 

[jasonaherbert]

that's pretty much it
get a good hazer. DF50 is pretty good, and an industry standard. or an F-100 fogger with haze fluid it in, and good fan or two.

fans are very important for haze. you want to keep it moving.

i've heard in the past that editing can be a pin with haze, but i've never experienced that.

i spent 3 years with a 120 par rig, which i some times added some MAC's to to add the bit more effect.
the key with PARs is to use VERY NARROW lamps in the rear. you get some very sexy beams. they're the ones that look clear (not frosted, 100% clear). the other thing to remember about PARs is that they have Oval beams. which ever way the ceramic in the back is, is how the oval goes.

all in all, just remember "make it look good". its pretty simple.