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Found 6 results

  1. Hi, We are two technicians working in the film industry in France (a grip guy and a gaffer) and we just discovered this very interesting forum. We particularly noticed that gaffers and cinematographers were asking questions about light output and what aperture is obtained at a certain distance. It happens that with the help of two IT engineers we developed an iOS app responding to this question about 2 years ago. First and for all, we’re not going to post messages everywhere on this forum to sell our app nor are we going to pollute your threads to gain in visibility. We just think some of you might be interested in what we created and since we’re a really small team working on off-time we can’t do any real advertising, so you probably wouldn’t know our app existed. Our app is called Predilux (for pre-diction and lux for light) and predicts the exposure as measured by a light meter, by choosing a light source and a distance. Or inversely predicts the distance to the light source by specifying the exposure. Predilux takes into account: Camera settings (FPS, ISO, Shutter angle) Source settings (Focalisation, Lenses, Grids, Dimmer, CCT, etc) Gels mounted on or close to the source (All ROSCO e-colour+ range) All results have been experimentally verified by us with a light meter in rental houses. For each source setting we made several measurements at different distances and this took a lot of time. So Predilux does not rely on constructor’s data, but on real data reflecting the state of the equipment as found in rental houses. Our data sometimes differs from the constructor’s data. Here is a quasi exhaustive list of the sources measured and included in the Predilux (12/2019) : Tungsten ARRI 150, 300 Plus, 1K Plus, 5K Fresnel, T10, T12, Rubylight (MFL lamps) Briese 77, 100, 140, 180 with lampes ranging from 650 W to 2K Mole Richardson Softlite 1K, MaxiBrut 16 (MFL lamps) Openfaces such as Redhead, Blonde, Desisti Renoir 5kW and LTM Cyclight 2K ETC Source 4, Dedolight, Zaplight, CMC 20K, etc. HMI ARRI AS 575, 1200, 4K, 6K, 12K, Arri M18, M40, M90, ArriMAX 12K & 18K K5600 JokerBug 200, 400, 800, Alpha 1600, 4K, 9K, 18K AFM 575, 1200, LTM Cinepar 2.5K Fluorescent KinoFlo 2ft, 4ft & 6ft LED ARRI S30, S60, S120, S360 KinoFlo Celeb 200, 250, 400, 450, 850 DMG SL1, SL1 mini, SL1 Switch, MaxiSwitch Mole Richardson Tweenie, Senior, Tener Aladdin Biflex 1x1, 1x2, Flexlite 1x4, 350 Dedolight bi90, Cineroid LMD400, Velvet V1 Balloon Airstar Gaffair 1200, Elipse 4000, PAD 9ft x 9ft, Tube 16K If any of the administrators of this forum wish to try out our app, we would be happy to give them one or several free life-time activation codes. For all the other users, our app is available on the Apple Store (). An Android release is planned. If you have questions or requests, don’t hesitate to contact us at this address predilux@wid.la Thanks for reading this post and we hope you thought it was interesting, Georges Harnack for the Predilux Team
  2. Hey Guys! I'm going to shoot a shortfilm set in a dry-cleaner's in a bit and am currently looking for inspirational films/scenes that use fluorescent top lighting as key, since i would like to go with fluorescent tubes that are already part of the location as practicals. I'm currently looking into "The girl with the dragon tattoo"; "Arrival"; "Fight Club"; "Fallen Angels" etc. to learn how to create dramatic/thrilling scenes through the use of neon/fluorescent light from above. (The ceiling of the dry-cleaner's is going to be pretty low, so I don't think I'll be able to hang Chimera Quartz's of any size, my initial idea was going with diffused Kinos or maybe pancakes if there is enough budget for it. I also would be happy about more ideas of Lights to use. I also thought about bouncing light into ultrabounce/musslin/silk attached to the ceiling, I'm not really sure if it's the right characteristic though, so I need to test this in the next few weeks) So if you have a few other films on your mind that utilize remarkable top lighting, and of course your own tips/experience regarding working with top-light, I would be glad if you could share them with me! I'm also happy about every bit of behind the scenes material of films using this type of lighting! Cheers!
  3. Hello guys ! I'm new to cinematography and I need help about the ideal use of kino flo light ? thanks in advance
  4. 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
  5. 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
  6. Hi everybody To clarify my older post. I am trying to light a room that is 30ft long 16ft wide and 15 ft tall with three 4 bank kino's. The room is wood and will be dark, except for some minimal house lights, 5x 30 watts halogens on the ceiling.Which I can change the bulbs to 150watts if need be. I want to create a slightly underexposed background ambience, where details are visible. But the room is NOT fully lit. Similair to this reference photo: Ignore the color cast please. I want to use the three Kino 4 Banks to light the background only, but I wouldn't mind some of that background light spilling on the sides of the actors, such as in the photo. Hope this makes sense. Mike
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