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  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. Hi Folks, I got a Desisti 1200/2500 hmi head and ballast, it had a open door fault/bulb disconnect fault showing on the digital read out on the ballast. So on investigation the door open switch wasn't sprung or opening the switch, I looked inside and as expected. The spring had came of the door switch. I repaired this and plugged the lamp head in to the ballast thinking all would be well however the fault still shows up which is definitely been repaired. I wondered do I have to clear the fault in the ballast software to get it back up and running. The ballast and light are in like new condition and ran perfectly before. If anyone could shed any light on this it would be very much appreciated. Link below to video
  3. LiteMat 4 Hybrid LED for sale. This is the original Litemat 4, very versatile light!Includes all original accessories, including three fabric diffusers, plastic grid attachment and yokeIn very clean condition, works flawlessly. https://newyork.craigslist.org/brk/pho/d/brooklyn-litemat-hybrid-led/7443020827.html NYC pickup preferred, but I'm open to shipping at owners expense.
  4. Hello Folks, I am considering investing in some arri skypanels or some cream source vertex 8s I wondered had anyone had any experience with the creamsource vertex 8s, on research they do seem to be a good alternative to a sky panel s60 and a built in ballast and a high IP rating makes them even more attractive. Also they seem to be a hard source to begin with which would be useful as it will give me both hard and soft light options. However they are not available to hire here in Ireland and I have no hands on experience with that brand. So I was looking for people who have experience with them and any feedback on them.
  5. I am currently writing my dissertation, assessing the quality of light produced by established diffusion and bounce materials in comparison to LED fixtures compatible with new diffusion solutions, such as those with variable electronically diffused panels. In order to support my secondary research, I have created a series of questions to gain insight from industry professionals and specialists on the future of lighting and diffusion. If you feel you can answer all or any of the following questions and are and industry professional or specialist, I would appreciate it greatly! Q1. What are the advantages and disadvantages of colour tuneable LED lights? Q2. What are the advantages and disadvantages of diffusion filters/materials? Q3. What is your opinion on new LED electronically adjusted diffusion panels and what do you know about them? Q4. Do you think electronically diffused LED panels can replace industry standard diffusion filters/materials and why? Q5. How popular are electronically diffused LED panels and do you think manufacturers will produce more? Q6. Where do you see electronically diffused LEDs in the industry currently? Q7. What is the longevity of electronically diffused LED panels compared to diffusion filters?
  6. Hey gents, So I tested the Forza 500 up against my Profoto 1200w HMI today, and figured some of you might be interested in the results. Long-story short? I was sadly underwhelmed by the output of the Forza. Colour-wise the Forza was very impressive. Effectively equivalent to the HMI bulb according to my spectrometer. And the beam from the LED is remarkably even too (evidently a COB has significant advantages over an open-faced point-source light in this regard) Output-wise however, there's clearly still no replacement for displacement. At 800 ISO and somewhere around 4-5 meters away from the lights (I didn't measure the distance, as I was only interested in comparative output), using a 50 degree Profoto Magnum reflector on the HMI (focussed to an evenly-spread beam), and the Forza's slightly tighter-beamed standard reflector, the numbers came in at: - Profoto 1200w HMI: f/11 + 2/10 - Forza 500w LED: f/5.6 + 8/10 So approximately a 1.5 stop advantage to the HMI (that's three times more output - you'd need three Forza 500s to match the output of the 1200w Profoto) Pairing the Forza up with it's Fresnel attachment (which works well, and has a pretty remarkable 45-10 degree range) I got: - Forza 500w LED @ 45 degrees: f/5.6 + 1/2 - Forza 500w LED @ 20 degrees: f/8 + 6/10 - Forza 500w LED @ 10 degrees: f/11 + 1/2 Zooming the Magnum reflector on the Profoto in to create it's most intense hotspot (the hotspot being about twice the width of the Forza at 10 degrees - but the outer edges of the beam still spreading close to 50 degrees overall) I got: - Profoto 1200w HMI: f/22 + 8/10 That's just a hair shy of f/32 (and with broad-beam reflector). With a tighter reflector that didn't lose as many lumens to the broader surrounding beam/spill those numbers would go up even higher. Which suggests to me that these higher-output COB LEDs are basically still on par with HMI on a lumens-per-watt basis. Now if we were comparing to an HMI fresnel, we'd lose around a stop to the lens, and there'd be less in it (maybe only half a stop). But compared to any open-face HMI (bug-lights like the K5600 Jokers or this Profoto of mine, or any Arrimax HMI like the M18) there's still a massive difference in output. I was kinda hoping there wouldn't be, so I could pick up the Forza 500 or the Aputure 600 and have all the output delights of the smaller HMIs, without the all bulb-blowing/5-minute warm-up times/and the joys of proper colour-shiftless dimming. But I fear we'll be waiting some time yet before we get there.
  7. Hello, I just got an order of Litemats Spectrum 1 and 2. I also got a single gold mount battery plate to PL4 to power those litemats on Battery. My question is: How would you power such a light off a gold mount battery? What would be the minimum requirements of that battery to be able to turn on the light? I know it is possible since the accessory is sold by Litegear themselves in order to power the Litemat 1 and 2 Spectrum via a single Gold-mount battery... I'm asking since I tried using a 160WH 14.8v and the light won't turn on. (I would use those batteries to successfully power the Litemat 1 & 2 bicolor PLUS versions) Here are the litedimmer spectrum specs: (I feel like it's missing output current info. AKA: Amperage required for the light to work) SPECIFICATIONS (IMPERIAL/METRIC) POWER RATING: 200W Nominal VOLTAGE INPUT*(BATTERY): 10~35VDC (PL4 Connector) 14.4 VDC Nominal (One Battery) For LED Loads up to 100W LINK FOR THE DIMMER AND LIGHT Document center: https://www.litegear.com/document-center/ (Find Litedimmer Spectrum user guide) Thank you for your help!
  8. Perfect conditions! Regular import with box and genuine Sekonic pouch. Asking price is €850 If you don't have an EU or UK VIES enabled VAT ID I have to apply local VAT.
  9. I’m shooting with V3 500T 7219 this weekend and I haven’t been able to find a good source of information regarding using LED fixtures (Lite Mat Plus 1 S2, Hive Wasp-100C, Quasar Q-LED) on film. According to the Kodak via the Vision 3 brochure it states “If the kind of lamp is unknown, a KODAK WRATTEN2 Color Compensating Filter CC30R + CC20Y can be used with an exposure index (EI) of 250. Light Source Exposure Index “ which seems like a safer bet, however I was going to mix in a few Tungsten fixtures for hard light. Has anyone worked with these LED lamps and V3 500T? Or any thoughts on how to rate them? Most of the lamps will be colored to 3200K but a couple will be 5600K. Ideally the LED fixtures would be helpful to make small soft sources. Unfortunately, I don’t have time to test this week before hand, so any advice would be appreciated. Also this will be 24fps only. I’m aware that the CRI is an important factor in this. Also I’m assuming color temp is going to effect my rating. I’m going to reach out to a couple manufactures and see what they recommend as well. Thanks
  10. Hello, Was wondering if any of you ever used a Skypanel S60 with an Anton bauer Cine VCLX block battery? I know battery voltage of Cine VCLX has max 28v (3pin XLR) which reduces light output from S60. My question is mainly regarding cabling in order to power the Skypanel on this type of battery. Arri don't seem to have/sell a cable or adapter from Battery input on the head 23-36V DC (4 pin XLR) to 28V (3 pin XLR) output on the Cine VCLX. Do you, in that case, DIY the cable? In which case, what recommendations do you have for AWG of cabling, max length and/or other useful information regarding wiring specs would you have for me? Thank you!
  11. Hello everyone, My name is Tayyib Mahmood and I am a film student from Birmingham City University (UK). I am in my final year and currently writing a dissertation on LED and Tungsten Lighting. Now the question I have is for all DoPs, directors, gaffers etc. I would like to hold a Skype interview or even email to document your opinions about LED and Tungsten lighting. Is Tungsten lighting becoming finite and are LED lights taking over the film industry? Is there a reason why Tungsten lighting is the predominant force in the film industry today? What issues do filmmakers have with LED regarding CRI, the look etc. If anyone can get back to me, I would really appreciate it.
  12. Good day film folks. Recently B&H had a special where they advertised a sale on the new Litepanels Gemini 2x1 bicolor LED soft panel. This is Litepanels answer to the popular but expensive Arri Skypanel. You can check out the comparisons online and I decided it would be a good choice for a more affordable price. I went for the US plug option which has a manufacturer product code 940-1301. B&H currently sells this item for $4,512.50. On their special which appears to have had ended, they sold the product for $3,194.85. Thats a huge savings. So I jumped on the chance and bought 2. I have my receipt and invoice from B&H and they both state that the product is 940-1301. I went to register the product and discovered that my lights were labeled by Litepanels as 940-1001. Has anyone else bought these lights from B&H under this special? Whats your product code? Has anyone else bought this product at the full price? And if you have, whats your product code on the back of you light? I ask because I have found that product code on other websites, namely eBay and at Texas Media Systems and on both sites they refer to the code 940-1001 as B-stock - refurbished. I have written Litepanels and expect an answer shortly about what that code means. I will update when I get that answer. Of course I also have to have words with B&H but I am doing my research first. In the meantime I am very curious if anyone else has had this experience. bless JAH
  13. Hey everyone, This is my first real post on this forum so bare with me. I've come here for a few years when I have questions but have always found the answers without needing to make an account. Anyways... Like some of you guys, I bought into the hype around the Aputure 300d about a year ago. I own and operate a lighting rental company here in Phoenix and the promise that this LED could potentially replace some of the smaller HMI's we generally use was enticing. Not long after using the fixture for the first time, a huge design fault became apparent, as I'm sure it became apparent to a lot of others. So I decided to do something about it. After a few sketches on the back of a call sheet and a few hours in Solidworks, I came up with a pretty decent work around. The issue that faces this fixture, as well as a lot of other LED's is the shear amount of junk you end up hanging off the bottom knuckle of a stand. The bracket I designed helps to tidy up the cable management as well as keeps the components close so they can clamp to a stand via a mafer clamp. After getting my first prototype back from the machine shop, I was finally able to release the kickstarter with an effort to pre-sell a decent amount of them, with my goal being what the machine shops minimum order quantity was. We surpassed our goal within the first 48 hours. So I'm sharing the project with you guys to try and broaden our reach. Thanks for checking it out. https://www.kickstarter.com/projects/thundergrip/thunder-grip-aputure-300d-dimmer-bracket?ref=creat
  14. I have two identical sets of the Digital Sputnik DS3 Modules w/ Snapgrid(softbox) and 1 - DS1 Module. I'm in the middle of the a personal project and finances are tight, I need to sell off some of my equipment. These are amazing lights and I sad to see them go. I have two identical set ups listed below and selling them for the same price. I might be willing to sell pieces but would prefer to sell them as a kit. These lights are in great shape and I only used them on one shoot, other then that they've been sitting in my garage collecting dust. The kit includes Digital Sputnik DS3 Module Plus Light kit (valued at $7900) DOP Snapbag, includes softbox and snapgrid (valued at $800) Digital Sputnik DS1 Module (valued at $1100) willing to possibly sell these together or separate I am selling the total kit together for $6500
  15. Anyone know of a decent CRI, mid priced bi-color LED mat (or smallish LED fixture) say around 24" X 24" that has diffusion options? Light Gear's LiteMat looks awesome but it's a little pricey around $1,300. Came TV LED's a little too cheap... I'm looking for something in the middle. I already have two 31 Kino LEDS, but I'm looking for something super portable to VLog with. Thanks for any suggestions!!!!
  16. Hi Everyone. I am new to this website. My name is Tayyib Mahmood and I am a film student at Birmingham City University. I am writing a dissertation on a comparative analysis between LED and Tungsten Lighting and I need of a few interviewees. This can be done over video call (Skype). I am in need of anyone with industry experience who would like to give me their opinion on Tungsten and LED lighting and which would be dominant within the upcoming years. Thank you, Tayyib
  17. I'm still pretty new to lighting. Recently I was able to try some kino flos for a few days and I was really happy the images I was able to get. I have saved up enough to buy a gaffer set, and I really would like to own a good set of lights so that I can just spend a lot of time practicing and testing things out to learn for myself. My question though, is this not a great investment considering how LED technology is coming along? Are there LED lights out now that I could get instead that have a similar look/output without having to deal with replacing bulbs etc. Or is there something better to buy for someone that is finally buying their own lights? I do a little bit of everything, portraits, photography, short films. Any advice is greatly appreciated.
  18. We are trying to light a barn in a remote location at night. Even at over 100 feet, the generator is too loud to allow us do noise-reduction on the dialogue. All our lights are LEDs. The main 3 lights we want to use are the Aputure 300D (300w), and 2 Aputure Lightstorms (120w each). We are thinking about trying to hook together a couple of deep-cycle batteries with an inverter. The numbers say that we should be able to power all 3 lights for a few hours. But I thought we should ask the pros before making the purchase. I hate ADR!!! Rick
  19. Hi everyone, I'm a long time reader and a first time poster and student. I'll be shooting a shooting a short film in about two months from now which calls for "a bar lit with neon signs". Think of the Bud Light and Heineken signs many bars have as reference. Obviously we won't be able to use any brand signs because of legal issues but I've been thinking of several alternative ways to achieve the same mood. Also real neon signs are expensive and a serious safety hazard. Also keep in mind that the bar will be filled with fog similar to heavy tobacco smoke you see in many movies. The director wants to have neon looking practicals as much as possible. I have two 4 foot quasar LEDs that could potentially be gelled and placed around the background but I feel as if only two tubes wouldn't be enough. 1) Has anyone had any experience shooting and sleeving (hard coloured tubes that fit snugly around the bulb) cheap fluorescent units? Do they have a chance of flickering? What about noise? Is there a way of powering them with unaltered wall power or do they require a ballast? If so can they be powered in a way that wouldn't require a housing frame around them? 2) Has anyone had experience with cheap neon LED signs? They basically look like neon signs without actually being neon? I'm afraid of cheap LED units because of potential flickering. https://www.amazon.com/Wedding-Suppliers-Operated-Lighting-Valentines/dp/B075MXR77D/ref=sr_1_7?s=lawn-garden&ie=UTF8&qid=1524627473&sr=1-7&keywords=neon+sign 3) This piggybacks off the last one. Has anyone had good experiences with colour shifting LED stripes or ropes? https://www.amazon.com/NEON-110-120V-Waterproof-Controller-Decoration/dp/B01JZ754SG 4) I have tungsten lights ranging from 250W to a 2k baby and a set of 2 4' Kinos (tungsten and daylight) at my disposal as well. I'd be using the previous the push the lights. Are there any particular theatrical gels that you have found similar to the hue of neon lights? Green, blue, red, pink etc. Thank you for reading and also thank you in advance for answering!
  20. Hey, I used these LIFX A60 LED bulbs last week with good results - https://uk.lifx.com/collections/featured-products/products/lifx - Has anyone had experience using them for high speed shooting, and do they have flicker issues? We're looking to shoot 120FPS Cheers, Greg
  21. Hey guys and girls I have an upcoming shoot where I need to light a few different office scenes in a way that looks modern, clean and uniform. The location we have has a good all around ambience that sits at approximately 4900-5800K throughout the day (this warmth comes from a large building across the road that bounces a lot of light into the space. Two space lights, balanced to daylight and sent through an overhead 8x8 butterfly with full silk, will light the boardroom scene, and for other scenes there will be a lot of practicals that will provide the motivation for areas where the windows wont be close enough to justify using them as a key source. These will be augmented with kinoflo's. In order to maintain the near-future, clean, uniform look I have opted to got for using daylight balanced practical sources only. My natural inclination is to use LED lightbulbs in the light fixtures. These include standing lamps, frosted balls that litter one of the spaces, and desk lamps. Here is my conundrum. I have searched the length and breadth of my city to find daylight LED's that come closer to 5000k so as to match the ambient light coming from the windows, however all I can find are 6000-7000k bulbs. Since the windows will almost always be in shot (there are a lot of windows) and the ambient light in the room is quite warm, I am trying to figure out how to have a uniform color temperature between that light and the practicals. Are there bulbs on the market that can achieve this slightly warmer temperature? How would you go about matching these two different light sources. Do any of the major industry LED manufacturers make daylight balanced bulbs, as Kino-flo does with their CFL's? I'm not using the CFL's because I cant find any in time, and most of the practical fixtures are too small to fit them. Thanks
  22. Hi all - I've got a big block battery which I was hoping to use to power some portable 1x1 LED panels for location shoots with no mains power. Problem is, the battery has a 3-pin XLR output and the panels I'm looking at have a 4-pin XLR input. I have 2 queries: 1. Can I use some kind of 3-pin XLR to 4-pin XLR adapter / cable to connect the battery and the LED panel? I've seen a few around online but not sure if they're suitable for taking battery power (see Dedolight DEA423 3-pin to 4-pin XLR). I'm also a bit wary about pin polarity etc going from 3-pins to 4-pins... Not sure if they will be correctly wired for the 4-pins on my LED? 2. Am I OK hooking up a battery of this size and power to a 1x1 LED? Forgive me, I'm not very savvy with electrical current - hoping perhaps a Gaffer or Spark may be able to shed some knowledge here! My current assumption is that the LED panel will only draw as much voltage and current as it needs from the battery and won't be at risk of being overloaded. Is this right? The kit in question: Battery: Dynacore DHB-30 block battery - Voltage: 26V - Capacity: 30Ah / 780Wh - Max output current: 30A LED 1x1: Lupo Superpanel (dual colour) - Battery operation: 14.8V to 24V - Consumption: 110W Any advice would be much appreciated! Thanks in advance.
  23. So this week I am going to make my first DIY flexi LED panel. Going to get the YUJI BC series LED's. Will mix 2700K with 6500K, with a cross dimmer. I am shooting a short film on Saturday, in a relatively tight location, and the director wants relatively free camera and actor movement at times. I am thinking this will be good to quickly tape the panel overhead / on a wall, with lots of diff, for some side/overhead tungsten, but not have any stands in the way (we don't have a gaffer either, so I will feel more comfortable with this. How do people use flexi LED panels, or just the LED strips in tight locations? Any screengrabs of work you've done with them? Thanks L
  24. Does someone used some of these lights? http://www.litegear.com/ What are your thougths about them? You have the lite mat's and the lite tile... or know where can I find a review about them?
  25. Hi, i'm currently in my second year of Uni and for my dissertation my question is "Will LEDs Lights be able to replace every type of light used in film production? " If anybody who has knowledge of different types of lights could help? By doing this questionnaire I'd really appreciate it thank you. :) https://docs.google.com/forms/d/e/1FAIpQLSd75cWHDKLyzAQ4gygI19yFEOWUUhkpW1tTUJZZWWP9uVXvmA
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