Kelvin Xu

Hi Cinematography,

I am studying the Cineo Maverick for our laboratory and wonder whether the Ethercon RJ45 can directly be connected and controlled to a LAN network? We wish to automate some testing procedures by controlling the brightness.

We have no problem with LAN programming.

Best Regards,

Kelvin

 

First time poster here. :)

Anyway, Kelvin, the easiest way to do this without having to learn to interface with DMX directly, is to use any generic DMX software and setup all your desired lighting presets, then assign hotkey/shortcuts for those presets within the DMX software. Then in whatever language you're programming your own software, simply use API to pass hotkeys to the DMX software, thus triggering your lighting sequences. I use this for my own projects, specifcally live sporting scenarios, allowing me to trigger lighting commands automatically based on predefined scoring and possesion scenarios within the live stats software. It's about 5-6 lines of code, and allows me the benifit of using the adveanced feature set of the DMX software without having to recreate it all myself.

Hope this helps.

- Nathan

 

Thank you Nathan.

I understand that the DMX interface well however we faced issues with USB camera modules, even though different manufacturers of USB camera modules use the same USB interface from PC perspective, but we did get different DLL from manufacturers. Do DMX have the similar issues?

Does a user expect a DMX software out there to work with any DMX controller boxes in the market? If so, I could get a DMX software which allows API or command line modes.

Thank you for the detailed explanation. It's very useful.

What kind of job or tasks in cinematography can one outsource to a low cost country, assuming good credibility of facilitators and no language barriers in the low cost country, via the internet?

I think the role of such facilitator is interesting.

Thank you all for the replies. I now understand that the linearity of the filters.

Will this idea work in order to save me some funds?

Assume when I purchase two LED lights with bundled softbox and color gels to be attached to the front of the softbox.

Instead of buying two sets of the gels, I could just buy one set, cut the gels into pieces and clip to the front of the lights,

the surface area of which is much smaller. (I can live with lessened softness from the arrangement)

http://www.videolighting.com/gels-filters.html

Hi Cinematography,

When one applies color filtering gels on a light source, is the filtering capability affected by the intensity

of the light it's intended to filter out? Let's say when a filter claims 40% reduction in a 500~550nm wave length, and the light at that region is 100lux then the result would be 60 lux. When I pump up the intensity by 10, will it reduce from 1000lux to 600lux?

Will it saturate?

Thank you.

Kelvin

Hi cinematography,

We are testing and grading large number of CMOS sensors for our microscope applications.

The basic idea is to have a PC to automatically control a 3-lights LED system to illuminate a sensor at various color temperature, brightness, hues etc, and take a large number of pictures for post processing.

We understand the DMX manufacturers tend to have their own GUI and App, but manual operation is not efficient.

Are there any DMX manufacturers supporting API or scripts to automate it? Besides here, where else online can I go to look for such information?

Thank you!

Hi cinematography,

We are testing and grading large number of CMOS sensors for our microscope applications.

The basic idea is to have a PC to automatically control a 3-lights LED system to illuminate a sensor at various color temperature, brightness, hues etc, and take a large number of pictures for post processing.

We understand the DMX manufacturers tend to have their own GUI and App, but manual operation is not efficient.

Are there any DMX manufacturers supporting API or scripts to automate it? Besides here, where else online can I go to look for such information?

Thank you!

Kelvin,

 

Gels are very lossy, so you would lose significant light output trying to filter an LED source to match an "ideal" spectrum. It's not worth it.

 

You can mix LEDs, however that's a very difficult problem. The LED technologies involved in producing different colors have different linearity and thermal responses. It would require nearly real-time calibration to keep the LEDs semi-sane.

 

What is you goal in all of this? Are you looking for an ideal D65 backlight for your color grading suite? I'm no expert on this topic, but I would think any reasonable D65 lamp would do. You could even use the Kino K55 bulbs since they run in the 6500-6900K (CCT) region. That's probably an excellent question for the color grading forum folks to see what works best.

 

Stuart

----------------------

illuma.blogspot.com

I am new to this area so asking a lot of questions may get me to know new ideas and methods. I understand Kino has a good portfolio of lights.

 

Unfortunately, LEDs and other 'spiky' sources would continue to give rise to spiky spectra, which is the problem when compared to continuous spectra such as Sunlight and Tungsten.

 

Optical filters, analogous to audio filters, such as 'band pass' or 'notch' are produced, but they are not available in the same way that one deals with audio filters, or audio DSP processing in the digital domain to give effects. If one thinks about how one 'tunes' a room for speakers, one hears of 'bass traps' or other physical elements, that are used, and 'custom' configured for the particular setup one has. Where most analog audio filtering happens, is in the electronic domain once the sound pressure has been converted to electronic pulses.

 

In the case of sensors if one had a sensor that had 6 or 12 bands of 'color' sensor, like a color that is R, G, B that one has today, into 12 separate colors, then perhaps by processing the 6 colors with some sort of 'weighting' one could mitigate the spikes in some way in the the electronic domain.

 

 

In any case, by the time one puts on enough filters to knock down several spikes, one probably has a very poor output and not worth the effort.

Thank you John for the explanation.

 

Wouldn't the question be rather can one mix or stack layers of gels to convert CIE D65 LED to 6500K? The short answer is NO. The long answer can be found here.

 

Guy Holt, Gaffer

ScreenLight & Grip

Lighting Rental and Sales in Boston

In sound synthesis we generate sound by combining multiple amplitude , frequency and phase.

If we carefully select a number of single color LEDs, each with controllable brightness, then put through a light pipe to bounce/mix the light and a diffuser at the exit. Would that work?

Are there linear light guide which could bounce and distribute light from a single point source to a line?

A brief treatise on the subject can be found here.

 

I didn't write the headline.

 

P

Thank you Phil. That explains metamerism clearly.

Just to check whether my observation/monitor is correct, in these two images, the right samples appear slightly more saturated than the left? (This question has nothing to do with the explanation)

http://cdn.redsharknews.com/images/rsn_metamerism_fig1.png

http://cdn.redsharknews.com/images/rsn_metamerism_fig2.png

I am aware of the metamerism which means two light sources of different spectrum may cause a subject to exhibit the same color. What is the parameter to differentiate the two light sources?

For an LED and a florescent lamp to have different spectrum but of same 6500K CCT, how can one declare which is closer/accurate to CIE D65?

What are the typical materials used to make filter gels? Can one mix or stack layers of such materials in layers of plastic films to convert a 6500K LED closer to CIE D65?

Thank you.

What are the materials, for example transparent films, or liquid, to absorb and reduce energy of the blue components in LED light outputs, especially the lower wavelength portion? Where can I buy small samples of that for color manipulation experiments?

I noticed the spectrum of LED lights tend to have a trough between blue and green. Are there any techniques to make the spectrum of LED lights more continuous?

Let's assume the color accuracy is not in important.

Practically all LEDs have a spectrum that's heavy in blue, lacking in green-turquoise, and lacking in the really deep red, but they're gett

Thank you!

If you have TLCI you're happy with, about the only other thing you could do is to get a complete spectrograph of it. To do this, you could use something like a Sekonic C700 meter.

 

Practically all LEDs have a spectrum that's heavy in blue, lacking in green-turquoise, and lacking in the really deep red, but they're getting better.

 

P

Thank you Phil.

Based on the manufacturer's datasheet, the TLCI of 97~99 sounds good enough for our purpose. That being said, it's claim by manufacturer only. Positive feedback from the industry can be a good tool to convinces the finance controllers, that could eliminate the cost of a spectrometer.

Besides color accuracy, any feedback, good or bad would be useful for a prospect buyer.

Hi Cinematography,

I am studying this lighting source for our microscopy laboratory. One of our requirement is a uniform lighting on a flat surface, which can be take advantage of the flat surface of the Maverick. The CRI and TLCI meet our expectation as well.

I need to know the color accuracy of Cineo Lighting Phosphor Panels. The manufacturer supplied data is promising. For a future user, reviews and feedback from the industry would be very useful.

Thank you!

This is Kelvin and I am here to study lighting skills. :D