Jump to content

Search the Community

Showing results for tags 'led'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • Cine Marketplace
    • Cameras Systems and Formats
    • Lighting for Film & Video
    • Camera Operating & Gear
    • Camera Assistant / DIT & Gear
    • Grip & Rigging
    • Visual Effects Cinematography
    • Post Production
    • Students, New Filmmakers, Film Schools and Programs
    • Lenses & Lens Accessories
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • Directors and Directing
    • In Production / Behind the Scenes
    • On Screen / Reviews & Observations
    • Business Practices & Producing
    • Camera & Lighting Equipment Resources
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Cinematography News
    • Sound
    • Off Topic
    • Accessories (Deprecated SubForum)
    • Regional Cinematography Groups

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Occupation


Location


My Gear


Specialties

  1. What do I need to Connect Tube lights like in the photo here? I'm a complete newbie to them and want to be able to make my own designs.
  2. Hello Everyone, My name is Vicken Joulfayan, and I am a new member here! I am a graduate student at the New York Film Academy in the Masters in Filmmaking program but my focus is primarily on cinematography. I am the DP for seven master thesis film projects, two of which are scheduled to be shot in the next several weeks, and am in need of advice for lighting. Although I have researched a lot and have a general idea of how to light each project, I need your advice in deciding which exact equipment to rent. The projects have budgets but they are minimal. I've embedded links to the first two projects I am working on in June, and they include the location image and overheads. Project 1 : https://drive.google.com/file/d/0ByO5kv_UG9-NQkxDekNQdHZRdkE/view?usp=sharing For the bedroom night scene, we are recreating rain outside the window ( the space is visible in the picture, which is almost 3 feet, and then there is 6 feet downhill grass. The light will be put there at the bottom of the slope). Project 2: https://drive.google.com/file/d/0ByO5kv_UG9-NSnd3eDdLbUNnRjg/view?usp=sharing I am trying to keep it as simple as possible when it comes to lighting this one if it is a possibility. For both projects during day and night scenes, all the locations have big windows. I was thinking of 1.2hmi? par? or maybe Led even? Example aputure lightstorm ls1s) and additional fill IF needed inside, and practicals. Would I need a bigger frame than a 4x4 if i have exterior shots ( backyard shots)? I want to be able to see inside( characters) well exposed yet also have the outside location exposed ( outside logically more but still clear) without having the need to light so much additional light inside (tosco scrim black). Would a small LED be effective to create eye-light? Also we get 10 tiffen filters of our choice, Iwas planning to get these after research: - IR ND 1.2 / 1.5 / 1.8 - ND.6 ND.9 soft grad - Black pro mist 1/8 1/4 1/2 - Soft fx 1/2 - 1 + there is this grant where i can chose 6 full rolls or equivalent from LeeFilters that i am applying for. What do you guys recommend as primary to have!? cto, and ctb i think would be sad to have full rolls of! My choices are: 1- OPAL 2-GRID CLOTH 1/4 .. 3- HIGHLIGHT 4- ND 5- + - green. ? Equipment: Red Scarlet Mysterium X, EF mount. Lens given from school : Rokinon I also have the option of renting (POSSIBLY ) either zeiss CP.2 ,Canon Cine primes or Leica R cine mod. Which do you advise?! I really appreciate any feedback! Thank you in advance! Best, Vicken Joulfayan (818)224-9124 Vicken@joulfayan.com
  3. 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.
  4. 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.
  5. 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
  6. Hi All I am a Uni student studying film and working as a spark and gaffer on low budget productions in London and was wondering if you might be able to help me out with my dissertation. I am doing it on LED vs tungsten and the effects on the industry, changes to the working environment compared to tungsten and the more technical sides of LEDs. Many thanks in advance Peter
  7. Hi, I am in the middle of my own DIY project making a high-powered LED light. I am using the Luminus XNOVA-Studio Series 150w LED COB. I chose this one because it could handle high heat, is meant for use in video and photography lighting, outputs a little less than a 650w tungsten bulb and the company rates it at 5600K 95CRI. But now that I have built it I am very disappointed with the actual CRI. It's way too green and feels very lacking in the color rendition. I was hoping since Luminus is an American company in San Francisco and this line of LEDs are meant for Fresnel and studio lights their CRI claims would be more honest. Does anyone know a good supplier of 150w LED COB with an high CRI, maybe even ones that major brands are using?
  8. HI, I have been doing a lot research into LED market and I am puzzled by how everyone and even the major lighting companies claim their light output compared to tungsten is so far off. For instance a common one I see is 100w(100w-135w) is a 1000w tungsten equivalent. From Arri all the way to the cheaper Aputure Lightstorms give a similar claim, but when you look at their photometrics and compare them they're more like a 300w tungsten equivalent. I use Arri Photometric calculator to compare their classic 650w tungsten Fresnel to their own LED Fresnel series and everyone else's LEDs and it comes up consistently that around 100w LED is more like a 300w tungsten. Is there something I am missing or is this just false advertising across the whole lighting industry to push LED? I also took into account beam angle when comparing the photometrics.
  9. PRL Lighting Launches with Introduction of LUSTRA 50 High-Performance LED Portable, High-Output LED Makes Continuous Lighting a Reality LOS ANGELES (Jan. 30, 2017) – PRL Lighting, provider of premium LED lighting for professional and avid amateur photographers and videographers, has unveiled its new product line. Founded by industry leaders Rudy Pohlert and Pat Ralston, PRL’s first offering is the LUSTRA 50™ high performance LED panel fixture. The LUSTRA 50 provides high-intensity output for continuous, full-spectrum lighting in a variety of situations. The LUSTRA 50 combines LED surface mount technology (SMTs) and engineered TIR optics with an integrated dimmer and a simple, ergonomic design to deliver optimal intensity and full dispersion of light across the color spectrum. Continuous light allows photographers to make real-time adjustments to lighting setups, eliminating the guesswork involved when using strobes and flash. Portraits, wedding, food, beverage, product stills, and corporate imagery all benefit from the “what you see is what you get” technique of continuous lighting. “Our primary objective for launching PRL Lighting is to enable photographers and videographers to capture superior images,” noted Pohlert. “Full dispersion of light across the spectrum, high output, ergonomics­­­­­––every choice we have made has been in service of the creative vision. The LUSTRA 50 fills the need for a high-quality, reliable source for dimmable, flicker-free continuous lighting.” The LUSTRA 50 offers a full 100% dimming range, powered by an internal microprocessor, guaranteeing a completely flicker-free performance at any frame rate or shutter angle. Each fixture is paired with a dedicated 12V power supply and incorporates circuitry for portable power via a Sony NPF L-series 7.2V DV battery. Optional PRL Accessories include the LUSTRA 50 SofBox™, which expands the photographer’s tool kit by offering a wrap-around look with a single fixture when used as the key light source, and by creating separation or providing fill and edge lighting when used as a secondary source. The LUSTRA 50 FilterSet™, consisting of three distinct filters, may be used to improve the color rendition and quality of images. “The LUSTRA 50 augmented with a SofBox or FilterSet is the perfect complement for photographers shooting static in-studio or on location, capturing video, or shooting news on the go,” added Ralston. “We are excited to bring this first product to market and look forward to advancing lighting technology for artists across many disciplines.” For more information, visit PRL Lighting visit www.prllighting.com or follow PRL on Facebook, Instagram and YouTube. #
  10. Lately I've heard more and more people talk about the qualities of new LED lights, that are supposedly as color correct as a kino-flo. I guess the SPD we are going for is to be a close as possible to daylight or tungstens; A somewhat even distribution of all colors; But how close to this do the newer LEDs come -- and are there any particular brands of LEDs that are better than others? It's hard to find much information online about the SPD, only the CRI is available, and not even for all. I came across this in the ASC magazine. CRI 95+, but the SPD looks like something I wouldn't want to use as a key light. Do any of you know what the SPDs of a kino-flo and a HMI is? Thanks,
  11. Hey, everyone! I'm wondering how to light an area. Or, more specifically, how to color-balance it. I'm going to be shooting digital, but I'd also like the answers for (tungsten) film just to know in the future. I'm going to be filming in a particular bar (if all goes well—pray for me, please) which I've built the whole thing around. It has lamp lights and ceiling lights which appear to my eye to be incandescent, or else LEDs which look incandescent (I didn't check in the lamps). There are LED (?) panels which I'm told change color (I plan to work that in). And then there's the light from the night-time street. (I don't know what to do about that one.) I was thinking (thanks to a suggestion from Tyler Purcell) of just lighting the scene with some china balls so that I wouldn't have all that stuff to hassle with, but I'm trying to figure out what I should do. I might be able to replace the lamp bulbs, but probably not the ceiling ones, and definitely not the LED panels (obviously). So do I light the whole scene for the LED panels and then use a filter on the lens? What do I do here?
  12. Ladies/gents, I just built an editing computer for 4K editing. These monitors were used on the rig I am replacing. Excellent condition. No damage. No screen burn-in. No stuck pixels. Paperwork, OEM power adapters included for the monitors. Local pickup in the Los Angeles Area. Ping me for any questions. $100.00 USD per monitor. I will sell all three for a discount if interested. Link below should go to a folder with more images. https://goo.gl/photos/AdrAQkMZBTjYqux38
  13. Hello- I am opening this question up to the pros because I am shooting a film with the Sony A7s and I planned to use the these TV simulation LED flickering lights. But the lights cause banding and video flicker. Is there a way to get a "clear scan" on the A7S camera? or a work around with the Shutter to get a clear or clearer image? Thanks! The light: http://www.amazon.com/FakeTV-FTV-11-US-Bright-Burglar-Deterrent/dp/B00BTKGHDE/ref=lp_6705498011_1_1?srs=6705498011&ie=UTF8&qid=1461771088&sr=8-1
  14. Hi Everyone, If anyone is planning to attend NAB in Las Vegas next week and is looking for new lighting instruments then please do visit Photon Beard in Central Hall C7650. We will be launching our new LED soft light for use in studios. I have attached a picture of the large light which is a 360W (8 tube fluorescent equivalent). The range starts at 90W and goes to 180W, 270W and 360W. All units come with 5 year warranty on light output and quality. We will also have our LED Redhead, mains or battery powered and the very powerful Platinum Blonde 1200W HMI. I don't want to fill this post with sales blurb so if you need more info please email me or visit www.photonbeard.com Thanks Peter
  15. Hello, I'm curious if anyone has used LED fresnels (Arri L7, Mole Studio LEDs, etc.) for a lightning effect. I'd like to be able to cue a lightning strike thru the unit's DMX control. I want to avoid tungsten because of the time it takes the filament to dim completely down between flashes. However, I'm not sure if there is a delay in the LEDs that would prevent an effective strobing or flashing effect. I imagine I'll test it soon enough, but wondered if anyone had any experience or thoughts on the issue. Thanks, Tristan Noelle
  16. Hello everyone. I have question for the helpful people of this forum. Lets say i have a cool white LED light(≥6000K). As many of you agree this temperature is a bit disturbing for the eye.( At least to mine.) So, my question is which filter(s) should i use for to balance it to 5200K? Thanks for your attention.
  17. Hey I just wanted to start a conversation about the new Arri SkyPanels and see what everyone thinks about them. Feel free to point out things to improve on, things it does well, etc. I just bought one of the S60-C fixtures and have been finding lots of ways to use it. A lot of DPs I work with have been digging it too. For me the selling factor is control. Very quick and easy color and intensity tuning, and an extremely wide range of adjustments at that. I try to have DMX control of everything too so this unit fits in perfectly to my Luminair workflow. There are a few small things I don't like: color can be skippy when you're doing through hues. The intensity knob is weirdly sensitive sometimes and very unresponsive other times. Unpredictable. Also I tried controlling my fixture via RJ45 instead of DMX recently and I got no data. Not sure why it didn't work. Let er rip! Drew Valenti Gaffer - LA drewvalenti@gmail.com
  18. LONDON (Nov. 13, 2015) – Panalux, the leading provider of lighting rental equipment for film, television, and media production, will display their latest LED lighting at the 23rd edition of Camerimage, the international festival of the art of cinematography, being held November 14-21, in Bydgoszcz, Poland. Together with Panavision and Lee Filters, Panalux will showcase their popular, proprietary products, including the HiLo, Tektile2, NessLED kit, and a soon-to-be-released spring ball light. Also on display will be the new Panalux LED Flex Light, an extremely versatile light that offers a variety of possibilities and configurations and has proven to be extremely popular with gaffers. Additionally, Panalux will support the Panavision Cinematography Workshop on November 19 by providing various Panalux lighting equipment to Markus Förderer, Eduard Grau, AEC and Ellen Kuras, ASC, who are shooting scenes to compare spherical, anamorphic and larger sensor formats. For more information, visit www.panalux.biz
  19. A colleague of mine with a small production company is struggling with work, I'm doing him some favors lighting with my tungsten kit to help make his projects look better in hopes of grabbing in some clients with deeper pockets. Sometimes we need a bright pool of daylight because the cameras used aren't very sensitive (around 250 ASA) and/or shooting into windows. I was thinking of putting together an array of those giant 6500k 105w CFLs with 90+ CRI, though keeping their built in ballasts cool might be a concern if they're packed in closely. Renting isn't an option; HMIs, kinos, etc. are out of budget and this wouldn't be used that often. Does anyone have any ideas? Has anyone seen any creative solutions for getting a lot of daylight for your buck out of a 15A outlet? Also considering lipo battery/giant inverter options for quick shots that require more current. It's definetly not something that would go on a truck for day-in-day-out production use by different crews and such. Looking to get something that will output around 50 foot candles at 30ft from subject 30ft+ width beam. Softness/hardness isn't a concern at this point, just getting exposure is hard enough. Impossible to find/build?
  20. Hi there, Just did a scout at the house we'll be shooting at, and it's full of new-fangled LEDs in every room, all set up to be controlled via wi-fi. It's mostly overhead can lights with LED floods, and ornamental fixtures with the new Phillips edison type bulbs. However I came across some LEDs I've never seen before in the kitchen's hanging fixtures. They are 360 degree bulbs that use the old g4 style fixture. She said the bulbs were Chinese knock-off's that were cheaper. Attached is a picture of one of the replacements with packaging, and another of them in action hanging over the island. Anyone ever see these types of bulbs before? Worked or had problems with them on camera? Any bad experiences with over the counter LED's in general before? I've only shot the Phillips Hue bulbs (which are some of these) and they were fine on Film. We're shooting RED dragon. Trying to figure out if we can bing camera in on Tech. Thanks.
  21. IBC 2015, Stand E55, Hall 11 CHATSWORTH, Calif. (Sept. 1, 2015) - Litepanels, a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, is excited to announce the launch of their new Brick and Brick One Light Kit. Now more robust, the Brick Bi-Color provides the perfect on-camera solution for on-the-go ENG cameramen, especially for those in wet conditions. Building on the legacy of the revolutionary MiniPlus, the new Brick Bi-Color's high CRI and TLCI surface mount LEDs with custom-designed optics provide superior color reproduction that delivers accurate color temperature adjustability. These tightly binned LEDs also produce a light output that is up to four times brighter than the original MiniPlus, resulting in a longer throw that effectively allows the Brick to illuminate a larger area. By having a comparable luminance output of 100W, it offers up to 1060 LUX (98 Footcandles) at 5ft (1.5M) while only drawing 16.5W. The Brick can also adapt to any situation by providing both daylight and tungsten lighting. And with its ultra-smooth dimming from 0-100%, it is not only flicker free at any frame rate or shutter angle, but the Brick also has no noticeable color shift throughout its entire range. Alan Ipakchian, product marketing manager for Litepanels, commented on the advancements behind Brick, "Incorporating the Brick with the latest in LED technology led to extremely positive preliminary feedback. Just like the MiniPlus, the Brick is designed to be a versatile on-camera LED, so I am eager to see what creative uses cameramen find for this product." With an IP 65 rating, the Litepanels Brick offers an innovative passive cooling system and a dust tight design with water protection, providing excellent durability in harsh weather. For ultimate convenience, Litepanels has also included a 3ft (0.9m) Power Tap cable to connect the Brick to cameras that support D-Tap connections. The Brick One Light Kit consists of a half white diffusion gel, a Manfrotto 244 Micro articulating arm, a 6ft (1.8 m) international power supply, a 60° Honeycomb frame, a soft diffusion frame, and a waterproof hard case with custom foam for safe transportation. Optional accessories for the Brick include an Anton/Bauer QRG-LG plate and an Anton/Bauer Power Tap extension. The Brick Bi-Color and Brick One Light Kit is available at the end of October and will be on display with other Litepanels LED lighting products at IBC, booth 11.E55.
  22. Hey guys, I'm a new member here but I've been reading thread for a while. I just launched/created a product to help mount LEDs, Microphones, anything with a hot shoe mount. I call it the "JClamp". You can check it out here: http://jclamps.com Let me know what you think. Thanks.
  23. 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.
  24. Hello All, I finally posted my pics and favorites I saw at the NAB on my lighting website under lighting news that you all might find of interest. http://www.lightingforcinematography.com/lighting-news/ There were some really great new lights announced and some true game changers. Only time will tell what lasts. But they are all great new tools for those of us that paint with light.
  25. Hi Everyone, We recently went into production with our LED Redhead which has been reviewed by, amongst others, Phil Rhodes. Here is a video that was prepared for us, without our knowledge until it was complete, https://youtu.be/umyunJd7JM8 More details can be found here - http://www.photonbeard.com/led-lighting.html I am pleased to offer members of this forum 10% discount when you order from our web shop - http://www.photonbeard.com/shop.htmljust use the discount code "Cine Market" when you get to the checkout stage. The above code gives 10% discount on all items, not just the new LED Redhead. If you have any questions please feel free to contact us. Thanks Peter Daffarn MD Photon Beard Ltd UK
×
×
  • Create New...