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  1. Hello everybody. It's my first post on lighting here on Cinematography.com I'm looking for a lighting kit to use with my Black magic Pocket Cam and 16mm lenses, that could be affordable, compact, and produce good results. Artificial Lighting is not my strong on Cinematography, I normally improvise with natural light, and have used an Arri Red kit before. Loved the results. I know there's a difference between fluorescent, incandescent and LED... though what would be a good choice in the case of using for small productions? When it comes to buy, its worth ask around for those who understand before go to BH Photo. Please let me know your suggestions. And thanks in advance. Thanks, Flavio
  2. Next Generation ASTRA 1x1 Series Also Expands with New Models CHATSWORTH, Calif., (April 9, 2015 )--Litepanels® , a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, has announced the launch of several new additions to their highly acclaimed ASTRA line of LED panels. The expanded lineup now includes the ASTRA 1x1 EP series, the ASTRA 1x1 E series, and two additional models in the ASTRA 1x1 series, which debuted last year. Building on the legacy of the company's original, trailblazing 1x1 fixture, the ASTRAs set a new standard for the form and function of professional LED panels. ASTRA 1x1 EP Series: Ideally suited for independent and field production, the ASTRA 1x1 EP panels offer a light output that is two times brighter than the company's legacy 1x1 fixture. Featuring the Litepanels tradition of a one square foot form factor, the LED panels offer high CRI (Color Rendering Index). The new ASTRA 1x1 EP series includes both Daylight and tunable Bi-Color models. ASTRA 1x1 E Series: The ASTRA 1x1 E series offers entry-level access to Litepanels' state-of-the-art LED panels. Every design element has been meticulously crafted to deliver the form and function needed for the independent content creator. The new ASTRA 1x1 E series also includes Daylight and tunable Bi-Color models, and offers a light output that is comparable to earlier LED panels. With high CRI and a traditional form factor, the new series provides efficiency and versatility at an affordable price point. ASTRA 1x1 Series: To better complement studio operations, the ASTRA 1x1 series has been expanded to include ASTRA 1x1 Daylight and ASTRA 1x1 Tungsten fixtures. Joining the ASTRA 1x1 Bi-Color panel, these fixtures offer a light output that is four times brighter than Litepanels' original 1x1. For studio installations, a full lineup of accessories is available. In addition to studio use, the intensity levels in these battery-powered fixtures make the ASTRA 1x1s ideal for location shooting, especially in direct sunlight. "The response the filmmaking community had to the launch of the ASTRA 1x1 Bi-Color panel last year exceeded our expectations," said Alan Ipakchian, product marketing manager for Litepanels. "The time, effort, research and development put into the ASTRA has produced a panel that once again revolutionizes the use of LED fixtures for the creation of professional content. We've created expansions to the line that offer a variety of intensity levels and price points, making the ASTRA available to everyone. Whatever your requirement, Litepanels has the perfect fixture to fit your needs and budget. And with the modular approach we've taken, your gear, accessories and lighting style can grow with you." All of the ASTRA panels are designed with select premium quality surface mount LEDs that are paired with custom designed TIR (total internal reflection) optics. Both the new 1x1 EP and 1x1 E series offer a Bi-Color fixture, allowing users to adjust color from daylight to tungsten as needed. An internal microprocessor monitors the temperature and delivers smooth dimming from 100 percent to zero with no noticeable color shift, as well as ensuring a completely flicker-free performance at any frame rate or shutter angle. "At Litepanels, we're always striving to deliver for filmmakers," noted Ipakchian. "With the introduction of the new ASTRAs, Litepanels is bringing the most advanced LED technology available to content creators in all segments of the industry. Once people get their hands on these panels - which are sturdy, high-output fixtures packaged in a lightweight, flexible form factor - they're not going to want to light without them." The new ASTRA series employ a modern, modular design. The manual controls are ergonomically designed to allow for ease of use in the field, ensuring easy identification and manipulation of dimming controls, color controls, and power status. The panels are all produced with aluminum I-beam core construction to provide maximum durability and superior thermal management, and also feature strong, integrated aluminum accessory mounting points and lens/filter rails. All ASTRA fixtures offer an extensive list of features, including a curved yoke design with a wide tilt range, dual integrated cable guides, and a combination yoke mounted power supply with a 3-pin XLR locking power connector and optional Gold Mount® or V-Mount battery plates. The yoke also features a removable TVMP connector and additional 1/4-20 mounting points. The ASTRA 1x1, ASTRA 1x1 EP and ASTRA 1x1 E series have taken the place of Litepanels' original 1x1 panels, introduced almost a decade ago, and are now available worldwide. The ASTRA family of products was specifically crafted to meet the needs and price points of users in every sector of the market. The ASTRA EP series starts at $900 (£558), while the ASTRA 1x1 E Daylight is available at the low list price of $665 (£412). The ASTRA 1x1 Bi-Color panel has a list price of $1,500 (£930). For more detailed sales information, please visit http://store.litepanels.com/. More information on Litepanels can be found at www.litepanels.com or follow us on Facebook.
  3. Lightweight Kit Featuring New LED Fresnels Delivers for Mobile Users CHATSWORTH, Calif. (April 8, 2015) - Litepanels®, a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, has announced the debut of its new Caliber 3-Light KitTM. Ideal for webcasting, blogging and professional content creation the Caliber 3-Light Kit is designed specifically to provide the portable, out-of-the-box lighting solution that today's professional videographers require. The latest addition to Litepanels' award-winning line of LED Fresnels, the Caliber is a true Fresnel fixture with wide focus range that can be powered via AC or with AA batteries. The daylight-balanced LED offers the controllability and light-shaping properties inherent in a Fresnel light at a fraction of the power draw of conventional fixtures. Flicker-free at any frame rate or shutter angle, the Caliber Fresnel offers ultra-smooth dimming from 100 percent to zero, with no noticeable color shift throughout the entire range. With professional accessories like a color frame, correction filters and a 4-way barndoor, the LED Caliber brings the functionality of large Fresnels into a small size factor. The dimmable light provides a 1/4-20 post for direct mounting using common hardware. The fixture's compact size, high intensity output and portability make the Caliber 3-Light Kit a valuable production tool in the field. Litepanels' compact Caliber 3-Light Kit has been carefully crafted to enable ease of travel and a fast setup. Weighing in at less than 13 pounds (six kilograms), each kit contains three Caliber fixtures and AC Adapters with international plug sets. Also included are three multi-jointed flexible tripods, allowing the lights to be fixed in a number of positions, and a compact stand with stand adapter, offering additional placement options. The Caliber 3-Light Kit's contents are all packaged in a fully customizable soft case, with additional storage space provided for batteries, camera lenses and other items. Cinematographer Lan Bui recently served as a beta tester for the new Caliber Kit. "I'm often stuck in very hard situations with limited power choices, so having a standardized battery power option built right into the lights is a key feature for me," noted Bui. "Being able to set up the lights anywhere without running cables or worrying about location power is an incredible convenience. Using only the AA batteries, I'm able to use the lights to compliment the shot I'm composing." Bui added, "The Caliber lights have a surprisingly bright output for their size and power sources. The quality of light, coupled with the ability to focus the light down and use the provided barndoors, makes these fixtures a 'must have' on any travel or run-and-gun location shoot. I don't see how I'll ever go out on a shoot without the Caliber Kit again. " Caliber 3-Light Kit includes: Three Caliber Fresnels Fixtures (Beam Angle: 15° to 73°) Three Multi-Jointed Flexible Tripods Three Gel Sets and Color Frames Three 4-Way Barndoors One Compact Light Stand One Stand Adapter with Ball Head Three International Power Supplies One Soft Case with Customizable Interior Compartments "The Caliber is a game changer for professional shooters," said Alan Ipakchian, product marketing manager for Litepanels. "Our customers in this space have been requesting a Fresnel kit with high-production value at an affordable price, and the Caliber delivers for them. It's a true Fresnel fixture that produces soft, directional illumination, yet has a very low power draw. Its light weight means that it can run anywhere light is needed. We've also packaged it in a completely functional kit that is designed with an eye to future expandability." The new Litepanels kit delivers a portable, flexible and accessibly priced solution for content creators on the go. The Caliber 3-Light Kit is listed at $995 (£617) and is a great, low-cost investment for any professional looking to work more efficiently. For more detailed sales information, please visit http://store.litepanels.com/. More information on Litepanels can be found at www.litepanels.com or follow us on Facebook.
  4. Well I've just had a bit of a shock. I bought some LED light bulbs and normally I get cool white bulbs but this time I bought some warm white as they were on sale and there wasn't a choice. However on getting them I was shocked at how green the output was! It was immediately visible and was much worse than on other lights I have encountered even with flo's. Of the bulbs I bought the little candle style bulbs seemed the worst. The bulb shaped bulbs were still bad however. I put one of the candle style bulbs into a lamp with a shade all around and it lit up quite green and with the addition of some orange gel it became quite bright yellow like you might find in a highlighter pen! Is it the case that warm white is a lot, lot less colour accurate than cool white? The cool white bulbs look a bit blue but I've generally had good experiences with them. I think I will avoid warm white in the future unless it's for a special effect! Freya
  5. At the CCW convention I saw some really cool new lights at the Shadowstone Lighting booth (I was giving a talk on lighting reality TV). One was the new Tungsten HMI Joker from 5600k and the other was the new LED baby zip light from Mole. You can read more and see pictures on my little blog here -http://www.lightingforcinematography.com/lighting-news/
  6. 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.
  7. This is my first post so go easy on me haha. I'm shooting a scene that includes some long takes in very low light inside. Were mostly lighting with practicals and shooting with a wide lens on an F5 with a DJI Ronin. There are some gunshots that are shown on screen and I'd like to at least get a bit of light to flash when the actors press the trigger. Can anyone suggest a way to get a light (preferably on the end of the gun) to flash when the actor presses the trigger? I've searched this site, but the suggestions don't really work for my scenario. It's a thesis for a filmschool project, so using blanks indoors obviously isn't an option
  8. Hawaii based production company and rental facility: Complete camera, grip, electric, and expendables. Alexa, Epic, Canon, Sony HD camera systems. Pro lenses & accs. ARRI, Mole, Kino. K5600, Dedo, Lite Panels - HMI, Incandescent, Flourescent and LED lighting. 1 Ton, 4 Ton, 5 ton G&E Pre-loaded trucks. Generators/Distribution. Fisher Dollies, sliders, cranes. Experienced union and non union crews. http://www.sightandsoundhawaii.com Bill Maheras Sight & Sound Studios, LLC 66 Queen Street, Suite 1705 Honolulu, HI 96813 ofc. 808-599-7600 FAX 808-599-7601 cell 808-754-0080
  9. Hi guys, Just wondering if anyone has had any real contact with the new Mole LED Fresnels yet? I'm very interested in getting a couple of the 400w Studio Juniors in daylight - photometrically they're basically equivalent to 575w HMI fresnels (without the bulb changes or worrying about ballasts) but MUCH cheaper (half the price of an Arri D5), and with the added benefits of full dimmability (without colour-shift) and no real issues with flicker for high framerate work. All of which should make them a really useful light IMO. I'd love to hear some feedback from anyone who's used them (particularly the daylight versions, and particularly how the colour rendering is on skin). Cheers, Mark
  10. Hi, Has anybody had experience with either the TruColor HS or Creamsource, and if so, what are the key difference between the two fixtures? Thanks.
  11. I am looking for some lights, but at a budget at the moment. I came across these through cheesycam and was wondering if anyone has ever used them http://www.fvlighting.com/store/lighting/led/r300.html
  12. Hey all- Sometimes whilst reading AC I'll find that gaffers on bigger sets put together sweet wireless iPhone-controlled DMX systems. Have any of you done this yourselves, on smaller budgets or for smaller sets? I think it would be really cool to have at my disposal. Here's a post I just put together on my website about it: http://robertboscacci.com/2014/02/11/dmx/ Let me know if I'm just wasting my time/money. -Rob
  13. Has anyone out there found an inexpensive source for LED strip light / ribbon light? Obviously the product from Lite Gear is fantastic, but I've run into situations where some productions simply can't afford that quality and need something more cost effective, especially for larger quantities. I tried some I found on Amazon but found the green spike on those to be pretty horrible. Wanted to see if anyone out there had any recomendations.
  14. Full disclosure: I work for Dracast in San Jose, CA. We started a 50% off clearance sale on some of our studio LED lighting for Black Friday and Cyber Monday. The promotion went so well that we're continuing it through December. You can find our discounted products here: http://dracast.com/december-specials.html Happy Holidays!
  15. At the risk of sounding silly & being shut down by purist and snobs. Has anyone used an LED ceiling panel on their shoots? These options on lighting has become more price realistic nowadays. You can compare them to poor mans Halogen Work lights (not as bright) if you wish but they are an option. I hear this all the time, "only work with 'proper' equipment when on a commercial shoot", but if Garrett Brown hadn't done that, the steadicam would not have been invented even less helped the movie win the Oscars on its first unveiling. (Not saying that i am like G.Brown) I have come across a 120cm x 60cm x 1.2cm(12mm) panel with 80watts, 8500 lumens, dimmable 5500k, cri 80-85 for about $200 Hack at that price i can have 5 of these babies with lights stands with filters for 1 Diva kinoflo. Would be great to hear opinions about this. Taggerty
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