Josh Tree Park Posted April 15, 2016 Share Posted April 15, 2016 (edited) https://www.youtube.com/watch?v=dNgdAti0DLQ Anyone have an experience with this K-Flect system?I've been tracking their product for a while, but haven't had much experience with it. The idea of reflecting different light based on the texture and light distribution sounds like an interesting concept, not to mention their minimal foot print of equipment on set. What do you think about this system? Worth replacing your 8x8 rags and bounces? Edited April 15, 2016 by Josh Tree Park Link to comment Share on other sites More sharing options...
andrew ward Posted April 15, 2016 Share Posted April 15, 2016 It looks amazing but I dont think its practical. If a DP owned it and used it, would be awesome. But if a gaffer tries it the DP wont use it right and make it pointless. Just a funky piece of poly. Also, dont have the lamps we need for it Link to comment Share on other sites More sharing options...
Premium Member Adrian Sierkowski Posted April 18, 2016 Premium Member Share Posted April 18, 2016 That looks like much more of a nightmare to set up than it's really worth-- not to mention not having nearly the ability to move around as you'd really like.if you're just doing product shots on say, a lazy susan for a series of things, sure, maybe, though no need to buy a "system" for this. Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted April 18, 2016 Premium Member Share Posted April 18, 2016 This is a version of Christian Berger's Cine Reflect Lighting System, which I believe he developed in the late 90s-early 00s while shooting for Michael Haneke. The first film he used it on was Haneke's 'The Piano Teacher.' (NSFL, btw!) http://www.christianberger.at/crls/ Seems like it's development was at least partially ideological, sort of a way to demonstrate a more environmental resource-friendly alternative to the orthodoxy. For example, if you only need 1x powerful HMI and the emphasis shifts from cutting light to adding small reflectors, then theoretically you no longer need a tow plant, heavy cable runs, power distro, or even a grip truck. While this might work on a small independent film, it won't work on larger projects where the Electric dept still need to run power to the Mohos or wherever HMU and Production is happening, plus video village, etc. For that reason, I don't think the CRLS system ever became mainstream. It's still a neat idea, but I wouldn't replace any of your existing tools with it. If anything, it would be cool to have a small kit to augment your existing package. Link to comment Share on other sites More sharing options...
Premium Member Adrian Sierkowski Posted April 19, 2016 Premium Member Share Posted April 19, 2016 I could see using it on a show if you're doing a fair bit of marco work or specialized insert stuff, table top stuff, etc. I just honestly don't see a major benefit in most shooting situations playing pool with light (to that degree) Link to comment Share on other sites More sharing options...
andrew ward Posted April 19, 2016 Share Posted April 19, 2016 But it looks like a cool toy. Nothing is more fun than impressing a DP with a triple mirror bounce! Link to comment Share on other sites More sharing options...
Shawn Sagady Posted April 19, 2016 Share Posted April 19, 2016 Reminds me of Egyptian light reflectors. This would be an absolute nightmare to set up and make useful on a large scale set though. And using the sun seems like your light levels would become pretty inconsistent anywhere but high noon. Link to comment Share on other sites More sharing options...
Robin R Probyn Posted April 19, 2016 Share Posted April 19, 2016 Does sort of look light lighting, made difficult to me TBH.. Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted April 19, 2016 Premium Member Share Posted April 19, 2016 Nothing is more fun than impressing a DP with a triple mirror bounce! Triple bounce is always better than a double bounce! Also, triple book lights where you bounce into Day Blue muslin and diffuse through a microscopically thin sheet of plywood. Nothing diffuses like plywood, I tell you! Link to comment Share on other sites More sharing options...
JD Hartman Posted April 19, 2016 Share Posted April 19, 2016 (edited) Triple bounce is always better than a double bounce! Also, triple book lights where you bounce into Day Blue muslin and diffuse through a microscopically thin sheet of plywood. Nothing diffuses like plywood, I tell you! What type of plywood would you use? Certainly not plebeian CDX and plywood composed of verniers from many endangered tropical trees are now banned from import to the USA. So using "real" Lauan ply is out of the question. So Oak, Birch, Cherry, Apple? Maybe Baltic Birch if you are shooting in Eastern Europe? Inquiring minds want to know. Edited April 19, 2016 by JD Hartman Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted April 20, 2016 Premium Member Share Posted April 20, 2016 It's not about the wood specifically, it's about the quality of the worms in the wood. You want weevils for the best effect, of course. 1 Link to comment Share on other sites More sharing options...
Robin R Probyn Posted April 20, 2016 Share Posted April 20, 2016 I also use silkworms reared by virgins.. imported from Tibet.. Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted April 20, 2016 Premium Member Share Posted April 20, 2016 Dammit, I forgot the virgins. Now I know your secret to success Robin! Link to comment Share on other sites More sharing options...
Robin R Probyn Posted April 21, 2016 Share Posted April 21, 2016 Silk Worms, virgins.. and a pint of Gin in a dirty glass.. always works for me Satsuki Sama Link to comment Share on other sites More sharing options...
andrew ward Posted April 21, 2016 Share Posted April 21, 2016 American Cinematographer says Roger Deakins always uses CineWood . Link to comment Share on other sites More sharing options...
Robin R Probyn Posted April 21, 2016 Share Posted April 21, 2016 (edited) Im pretty sure he uses Panaplank sometimes in conjunction with Arri Rawdust Edited April 21, 2016 by Robin R Probyn Link to comment Share on other sites More sharing options...
andrew ward Posted April 21, 2016 Share Posted April 21, 2016 Youre thinking of Richardson. Deakins has his guys make up 60x60 panels of those novelty christmas lights shaped like reindeer, paints them all with hairspray that equates to nd0 and then puts them all in the lighting truck and closes the doors. The knowledge that theyre there changes the actors performance. I blame him for Lupita Nyongo who has yet to not ruin a film. 1 Link to comment Share on other sites More sharing options...
Igor Trajkovski Posted April 21, 2016 Share Posted April 21, 2016 (edited) I recently became aware of the CRLS and watched couple of interesting videos.For anybody interested: A RIVER OF LIGHT - Interview with DoP Christian Berger about CRLS Movie sets lighting samples in the following: CRLS - Cine Reflect Lighting System - Part 1CRLS - Cine Reflect Lighting System - Part 2 and great overview of the components and setup in English:Cine Reflect Lighting System - how can I work with it? ... One think i liked was Christian's intent on lighting with this sothere is very little light falloff and the performance is less hindered for the actors. It needs another mindset on using this.... :) BestIgor Edited April 21, 2016 by Igor Trajkovski Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted April 21, 2016 Premium Member Share Posted April 21, 2016 Im pretty sure he uses Panaplank sometimes in conjunction with Arri Rawdust Can you buy Panaplank in the Panastore? I heard a rumor that Arri Rawdust is just regular sawdust in a gold bottle. Sorry Igor, carry on! Link to comment Share on other sites More sharing options...
Robin R Probyn Posted April 22, 2016 Share Posted April 22, 2016 Panaplank was used on all John Carpenter films .. for added grain.. I saw it in American Cinematographer .. 1 Link to comment Share on other sites More sharing options...
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