Expert Column / All Amped Up - Part 2 by Joe Daly

continued from All Amped Up 1...

Knowing how to use your gear is, naturally, of the utmost importance. Shaping light, working with computers, building an environment, shooting, etc. These are the things that make a shoot what it is. But it is just as important to understand the gear as well. Not as its function on set, but simply, as a piece of machinery. Photography gear, particularly lighting gear, uses a lot of electricity. A standard Profoto 7A 2400 pack uses approximately 15 amps. So basically, you don't want to plug anything else into the socket that the pack occupies. It's kind of like money. You only have so much to spend, so how much does your gear "cost."

As your gear becomes more "costly," the more intense the situation becomes. What if your location does not support the amount of power you need? Once you get into larger HMI's, or even an abundance of small lights, a lot of locations will either not have enough power, or not have the proper plugs. Larger lights don't have a standard edison plug and they uses a lot more juice. Say, a 6K Arri, is roughly 60 amps and uses a Bates paddle. Therefore, it can't be plugged into any normal edison socket. This is where either generators (either portable or a generator truck) or a tie-in is required. Both of which require, at least, a basic understanding of power distribution.

A tie-in is basically tapping into the main power source of the location through the breaker box. Basically, it gives you access to the bulk of the power, to be distributed in the manner required for the shoot to run smoothly and accurately (with a few variables such as power drawn by house lights, fridges, etc.) Though helpful, TIE-INS can be VERY DANGEROUS and SHOULD NOT be done by anyone except a skilled, experienced technician.

Generators, generator trucks, house power, studio power and tie-ins still follow the same rules though. How much power is provided, how is it divided, and what do I need for each piece of equipment? With these sources, the power will be divided differently among different lines. It is, essentially, your job to know what is available with each line. For example, certain generator trucks provide 600A, distributed through 3 different lines on a cam-lock 5-wire (5 color coded wires put together as a ground, neutral, and 3 hots). Usually, studios have the same set up, as far as using cam-locks from the wall. So from there, you have to figure out how you want to balance your load. In this case, there are 200 amps per line to distribute accordingly. There are many different ways to split the power, so you would need to figure out where you want the hubs of power to be. This can be done during the scout, or day of.

With that in mind, say you want to run a 12K Arri (120A roughly), two 4K Arris (40A each), two Profoto 2400 packs (15A each), a computer, two make up mirrors with lights, and a hair dryer. The power has to come from different lines to power all of that. Maybe one line for the 12K. Another line for one 4K, one pack, and the computer. Another line for the rest. Really, however you wish to do it will be ok, as long as you don't exceed the allotted amount of power.

Its always better to have too much than too little. You never know when you might need a little more juice. Electricity, just like a photo shoot, can be unpredictable at times. So, try to give yourself some breathing room, scout your location, research your gear, and take your time. If you don't know how to do something or are unsure, don't pretend to know. There are technicians in this industry that can make your shoot smooth and safe. Even a small screw up with your electricity could tear down the entire shoot or be very harmful to your health. So, be careful, and good luck!