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My Gear


Found 17 results

  1. Feast your eyes upon two of the most highly rated, luminous glow-emitting light fixtures to have ever been constructed in the history of Hollywood. Manufactured in the heart of Burbank, built from blood, sweat and tears; The Kinoflo 4x4 fixtures have dominated the industry for over 20 years. The natural quality of light has been said to fool even the greatest DOPs into believing it is not an artificial source, but the soft glow from a window on a summer evening, just before sunset. Deakins himself has claimed the Kinoflo 4x4 fixtures are the only manmade instruments to come close to replicating a truly authentic and natural light source. History was made the day these puppies came into production and will forever be remembered as the greatest invention to grace the grueling business that we know as "the Film Industry".'Deakins never said that about Kinoflos' Selling 4x4 Kinoflo Kit - $1500(2) - Kinoflo 4' 4 Bank(2) - 4 Bank Feeder Cables(2) - 4 Bank Ballasts(2) - Kino ball Mounting Backings (Pin for Gobo)(9) - KF32 4' Tubes(7) - KF55 4' Tubes(1) - Kino non rolling case (Very Worn)The Kinos work fine other than a bit of cosmetic wear and tear. Local Los Angeles Pickup only
  2. I'm shooting a music video inside a restaurant with drop ceiling (location) and would like to create practical overhead lighting (like this) to give us more freedom with our framing. In the example above -- it looks like they popped out tiles where they needed light, laid out a large cut of diffusion across several tiles and placed individual fluorescent tubes (astera, quasar or kino?) on each rectangle. What do you think? Can anyone provide any helpful ideas on how to achieve lighting like this on a modest budget? The restaurant also has several 3-bank T12 fluorescent fixtures already installed. I'd like to replace these fixtures with T12 kino tubes but the location is pretty dated and I'm worried about flickering because of old ballasts. How can I tell if the ballast will produce a flicker? I looked around the fixture and didn't find any specs printed on the side.
  3. Im not sure if this is the right place to post this but I have an offer to buy this set used for $500 https://www.bhphotovideo.com/c/product/1061333-REG/kino_flo_kit_2gf_120u_gaffer_4_4_bank_2_light_kit.html All I own is tungsten lighting and this seems like an okay deal for me. Do you believe (with Boston prices) that this will be a good purchase? Thank you, CM
  4. Hi, this will be my first post to the forum. When I hire in gear for TV commercial shoots, I will normally include 4-Bank kinos. I've noticed that when 5500k tubes are in the colour looks great. Very accurate it seems and compliments light from HMIs (with maybe 1/8 CTO) very well However, when it comes to changing colour temps for different moods, and I switch to the tungsten tubes, they are never quite as pleasing. There's almost a muddy pink/magenta shift in the colour of the light. I often end up just throwing CTO over instead now as it's much quicker anyway. I don't believe this is anything to do with the rental company holding faulty tubes as I've experienced this elsewhere too. Has anyone ever noticed this before? James Oldham Cinematographer Manchester, UK
  5. If you've ever wanted to build your own Kino type lights, you know that one of the most difficult challenges is finding the right hardware for mounting the fixture to stands or other industry standard hardware. I'm including a link for some components that I have available that can solve that problem. This hardware can be used to build a fluorescent, LED or other lighting fixture that needs a detachable swivel mount, and the mating plate that is permanently attached to the fixture. Please follow this link and see if this is what you've been looking for to build your own lights. http://www.ebay.com/itm/112379559596?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 Please feel free to contact me with questions about these parts, or any other fixture building topics.
  6. Update "Color Menu" Kino Flo Select LED DMX Kino Flo Lighting Systems incorpora una actualización al controlador balastro electrónico de las pantallas Kino Flo Select LED DMX. Con esta nueva actualización se incorpora un nuevo menú en el controlador, denominado “Menú de color”. Este incluye 3 canales más (Control de Geles, Ángulo HUE o Ángulo de tono y canal de Saturación). Este complemento nos permite poseer un control casi total sobre el color: - El canal “Geles” dispone de más de 100 gelatinas predeterminadas (cada uno de un color y una saturación específica), pudiendo prescindir de los filtros de gelatina externos. - El canal “Ángulo de Tono” o “Ángulo Hue” nos ofrece la posibilidad de utilizar cualquier grado de color dentro de los 360° disponibles en el Arco Iris. - El canal “Saturación” nos permitirá escoger la intensidad de color de un matiz específico. Además, se amplía el rango de temperatura de color, de 2500K a 9900K. Más información aquí.
  7. For sale, Mactech tubes V1 32k and 55k high output led tubes 110v dimmable 4' tubes $100 each 20- 32k 20- 55k 2' tubes $60 each 12- 32k 10-55k 1' tubes 40 each 4- 32k 4-55k 5500 for whole pkg
  8. Hi everyone! I have a job next week were I need to do some day interiors inside an office space. We want the lighting to be flat and have a nice higher key look. Think typical old school office vibe. I understand color temp has a lot do with this situation and my first thought is to replace all the green spiked overhead lights with color corrected Kino bulbs. The issue I'm having though is that the light levels still feel a little low in the space. Should I be adding more Kino's fixtures above people and have some sort of key source as well? This is sort of the look I am going for https://www.youtube.com/watch?v=MzxVqaUS5s4 You can see how they managed to maintain an stale office feel but still make the color very consistent and even have some contrast to the images. What do you think they had for fixtures? Thanks to anyone who has thoughts on this!
  9. I haven't lit for a photography shoot before. How would I achieve something close to this lighting? I have three kinos to work with. My original idea is a daylight kino from the left and two tungsten kinos from the right and top Any help would be appreciated! Thanks!
  10. Hey Guys, I have to shoot a spot for a CrossFit gym in the near future, and was looking for any lighting recommendations. We want to achieve a feel similar to this Reebok campaign as far as framing, camera movement and editing: https://youtu.be/UDb-7DY3CjU As far as lighting, the Director wants this to look relatively dramatic with a darker background, nice edge lights etc (please reference photo). The talent we will be filming is a woman (about 40y/o). Any recommendations on lighting a woman in a dramatic, but flattering way? I don't have any pictures of the space that I can share, but it has a series of ceiling-mounted Fluorescent lights, no windows, and a large barn door that we can open to add some daylight fill. I was planning on opening the barn door, turning off the ceiling lights and going full daylight. As far as lighting that I have access to: Joker 800, Kino Kit (one 4 bank, two 2 banks), Arri Kit (two 150s, one 300, one 650, one 750, one 1k). I also have gels and c-stands, flags etc. -Sam
  11. I had a shoot coming up. essentially shooting a tutorial film of a makeup artist and model. The idea is to create a set that has texture and elements that break up the space (from foreground to background) camera A with be on a slider and cam b will be on a jib. We are thinking of trying to emulate something similar the picture attached of an installation. I understand that maybe the best way to achieve this is to pull the bulbs from some kinos, which I am currently creating individual tube holders for, unless there is a better suggestion. I am concerned about hiding grip gear and the wire harnesses, but that can be resolved. What kind of fabric/material would anyone suggest for the partions, which the lights and sit behind. The material should let the bulbs retain their shape and not diffuse the source into a blob... Really any suggestions to best achieve a similar look. Note** the shoot will be in a studio with a white cya so the material serves to break up the white background which will probably be hit with a diffused joker.
  12. Hey Guys, I'm an aspiring cinematographer and I am wondering how best to spend my money to invest in this field. At first, I was dead sent on buying on new camera (looking at the A7s II or the Ursa Mini); however, I have now begun to consider investing in lighting equipment, and opting to rent a camera whenever the need arises. Basically I'm torn: For $3,000 I could buy just a camera body, or I could get an Arri lighting package (x2 150w, 300w, 650w, 1k) and two 4' 2-bank kino lights w/ ballasts off of Ebay. My questions are: Can anyone provide insight into what would be the best and most beneficial course of action? I also have another question based off of the Kino lights: is the output of a 4' 2-bank Kino the same as the output of a 2' 4-bank Kino? What are the benefits to either or? Lastly, is there a better investment I could make that isn't a camera or lighting equipment? Thanks again, and any insight will be greatly appreciated! -Sam
  13. Hi guys, My team and I are shooting the 48HFP tomorrow and we've found out that the location we'll be using will not have any usable outlets. It's a small side house on my friend's property. I originally was part of a groupbuy for high CRI leds that would be battery powered but those have not arrived. We're bringing only a handful of things, namely 2x 2 bank kinos, and one or two LED/CFL bulbs (unknown wattage yet but under 100w) for a china ball setup. I do have an LED wand (icelight) and was thinking of sticking that inside the lantern and then flagging some of the spill but haven't tested that. Would it be correct in assuming that (I've never used a power generator), I could rent something like a 2K portable generator (I don't believe the kinos have PFC) and that should be fine? Appreciate the help, thank you.
  14. Hi, I come here a lot for all the great information you guys dish out! But this is my first post, It's one that has been asked before, but I'm looking for a more up to date specific answer, so any help is appreciated. I'm shooting a class room scene, in the classroom there are over head fluro lights already. Our gaffer is coming with kinos, and has said, with no real confidence, "they should work". So I've been told about needing older 40w globes rather than newer 75w, and this: "a standard fluorescent fixture they will be under driven resulting in less light output and incorrect color balance. It should be about the same as running a 4ft tube in 2ft mode in a kino fixture. When under driving the bulbs they will appear more magenta than normal. " Should I be hiring some different type of bulbs for those scenes, rather than using the standard kino blubs? Will I need to balance out the color across all the blubs with gels? Will the light be diminished (I know this may be impossible to answer without actually being on set)? Would love any help or more information before we head out onto set!
  15. Hey guys, Does anyone know of a good place to purchase Kino flo party colored tubes? Looking to buy some color tubes (blue,red.) Can't seem to find them available for purchase online, but I know they exist. Thanks! -Ben Joyner Cinematographer // benjoyner.com
  16. Hi! guys. I have recently just made LED fixture to use on my work. Just cost me to make about $160. Output similar to 800W softbox. Made out from RGB ribbon LED and Warm-white ribbon LED. I expected to use WW LEDs at full power but eventually it drags down the color rendition made skintone look off. But the downside : It has multi shadow. solve sometime by using some diffusion sheet. Reason I chose this method. These LEDs are very abundant and very easy to find at cheap. But as you know you can't expect to have excellent color on this either alone. They are just good but I can toss-off for functionality that I gain from this thing. WW LEDs is to make broad spectrum base for skintone. RGB LEDS is to correct portion to matched the sensitivity of the camera. This approach is very similar to Arri L7-C fresnel light which used light engine they called to make tuneable light. While Blue LED have very high energy level. I chose WW LEDs which have high energy in orange green and red part. So I can added by RGB LEDs later to achieve Daylight. MY Goal : - Dimmable - Variable CCT - Green, Magenta shift - Color effect - Rock stady at any shutter speed from top to bottom. - Custom / Preset Switch - WW LED intensity - Red LED intensity - Green LED intensity - Blue LED intensity - On / Off switch Custom / Preset is to switch between selector which will used Pre-tunes trimpots that corresponds to each CCT and the accessible knob that can be customise as your favour. Preset knob is 4 position Selector switch connect to Bunch of Trimpots responsible for each channel. - 5500K Daylight (Tune to closely matched to Kino-Flo color as I have one for evaluate test) - 5000K Daylight (Tune to matched to Philips TL-D 950 Graphica as it have ability to mix very well with natural daylight) - 3200K Tungsten - 2700K Incandescent I just ordered Arduino kits and LCD. Maybe I can bring this into digital control like Kino Flo Celeb line. I just expect to using them without PWM modulation dimming. Here is the test. With Faithful picture style on Canon 60D. 5500K Kino-Flo True-matched Tune. 5500K WB 5000K Tune to Philips Graphica TL-D 950. 5000K WB 3200K Tungsten. 3200K WB 2700K Incandescent. 2700K WB Here are some test. Place like beauty dish. WB : 5500K Canon 550D + 18-55mm ISO 800 28mm F4.0 1/60 e I just sharing my though. Maybe something just wrong approach for using these kind of instrument. But it just worked!!!! quite amazingly. Any suggestions very appreciated. Thank you.
  17. I'm lighting a 40 foot by 40 foot stage against black drapes. Part of the set design is bare Kino tubes of various lengths suspended perfectly vertical in mid-air. We're thinking of using trick line from the grid and fishing line taped to the floor. There won't be anyone in post painting out wires. Any other ideas would be appreciated. Thank you,
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