Category Archives: peter pearce lighting designs
Hollywood Lighting Partners shares with Long Beach City College Radio/TV
Hollywood Lighting Partner, Pete Pearce, has been teaching lighting at Long Beach City College in the Radio/TV Department since 2001.
Hollywood Lighting Partners uses soft lights: Briese, Rifa & Gemball
Hollywood Lighting Partners went nuts and used a combo of Briese Lights, Gemballs and Rifa lights for the backstage and behind the scenes shots for a model tv shoot.
“The quality of the soft lighting is awesome and compliments the beauty of the models that compete on this show. The look of the show is important to me as the executive producer knows quality lighting and her models deserve it” said gaffer and Hollywood Lighting Partners member Peter Pearce.
“It gets tricky sometimes as there are many things happening and cameras everywhere, but it’s a lot of fun and the whole team is awesome to work with. I love them and have gone to Germany 3 times to visit the TMT Lighting Team in Munich just to say hello and drink beers with them.”
Hollywood Lighting Partners shares depth of field chart
Hollywood Lighting Partners would like to share this basic camera knowledge with you. Above is a great chart showing the viewer the relationship of lens and distance when it comes to depth of field and exposure.
As you can see the higher the number F-stop, the deeper the depth of field focus and the smaller the lens hole. This is easiest to get everything in focus but requires lighting or plenty of daylight. When the lens is at the highest numbered F-stop it is called ‘closed down’. So a cameraman could tell the director who is asking for a darker picture at the beach, “I’m closed down all the way.” In this case it may be that you need a ND 3 filter at the beach to knock the light down 1 stop further to maybe F32 and/or change exposure ASA/ISO setting.
As the f-stop number comes lower so does the depth of field focus and the lens hole gets wider. This might be needed for exposure in various lighting situations or for storytelling and viewer attention aspects.
When your lens is ‘wide open’ the f-stop number is as low as you can go. This lets the most light in the lens while shooting in the darkest of situations but is a nightmare for the focus puller who might be trying to follow a moving subject. As you dig for exposure in dark situations, changing the ASA/ISO setting may help, but also adds grain and can wash out detail to your picture.
Happy New Year from Hollywood Lighting Partners
The 1st lighting job for 2015 is a film by artist & LBCCMVP alumni Sanjin M called TETCHED.
Hollywood Lighting Partners Socapex Breakout Number Chart
Socapex Breakout Numbering System
Rack 1:
A 1 1- 6
B 2 7 – 12
C 3 13 – 18
D 4 19 – 24
E 5 25 – 30
F 6 31 – 36
G 7 37 – 42
H 8 43 – 48
I 9 49 – 54
J 10 55 – 60
K 11 61 – 66
L 12 67 – 72
M 13 73 – 78
N 14 79 – 84
O 15 85 – 90
P 16 91 – 96
Rack 2:
Q 17 97 – 102
R 18 103 – 108
S 19 109 – 114
T 20 115 – 120
U 21 121 – 126
V 22 127 – 132
W 23 133 – 138
X 24 139 – 144
Y 25 145 – 150
Z 26 151 – 156
AA 27 157 – 162
BB 28 163 – 168
CC 29 169 – 174
DD 30 175 – 180
EE 31 181 – 186
FF 32 187 – 192
Rack 3:
GG 33 193 – 198
HH 34 199 – 204
II 35 205 – 210
JJ 36 211 – 216
KK 37 217 – 222
LL 38 223 – 228
MM 39 229 – 234
NN 40 235 – 240
OO 41 241 – 246
PP 42 247 – 252
QQ 43 253 – 258
RR 44 259 – 264
SS 45 265 – 270
TT 46 271 – 276
UU 47 277 – 282
VV 48 283 – 288
Rack 4:
WW 49 289 – 294
XX 50 295 – 300
YY 51 301 – 306
ZZ 52 307 – 312
AAA 53 313 – 318
BBB 54 319 – 324
CCC 55 325 – 330
DDD 56 331 – 336
EEE 57 337 – 342
FFF 58 343 – 348
GGG 59 349 – 354
HHH 60 355 – 360
III 61 361 – 366
JJJ 62 367 – 372
KKK 63 373 – 378
LLL 64 379 – 384