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Found 12 results

  1. The owner of Commons Productions, Spencer Commons, is retiring. He’s been in the lighting business for 30+ years. I’ve learned a bunch from him about being a gaffer. He’s now selling his grip and lighting equipment - c-stands, kino flo, tungsten, LED, hmi, flags, electric ... you name it, he’s probably got it. Prices are good. http://www.commonsproductions.com
  2. 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.
  3. So I'm trying to sources a super specific Kino part, but I'm having a devil of a time. Kino themselves aren't being super helpful, and I can't buy it from any vendor. What I’m looking for is a backplate that goes on the back of Kinos. Not the thing that attaches to a c-stand and has a the small ball head, but the flat metal plate that’s attached to the backside of the light that the rotating lock mechanism goes into. I hope that make sense. It's a tough piece to describe, which is part of the problem. Basically, this: http://www.kayelites.com/images/Products/KinoFlo/newkino4x4_4.jpg If anyone has any ideas where I can buy this piece, I'd be eternally grateful. Alternatively, if any of you out there are looking to get rid of a Kino shell that's in some state of disrepair, I'd be happy to buy it off of you and scavenge what I need. Thanks for any help you guys can give me! -Drew
  4. I recently bought a new 4 ft. kino. I don't want to spend $200-$300 on a case to carry it in. I'm looking for a cheaper substitute that will fit the dimension of the fixture just to be able to protect it from scratches and preserve it looking new (assuming I won't drop it on the ground at any point). I'm not so much worried about shock absorption, mainly just a general protective covering. Any suggestions?
  5. 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.
  6. Hey everyone, My first post on here and fairly new to filmmaking. I've got a project coming up and I'm unsure about what lighting to use. It is for a Christmas advert which will feature a kid in a living room with a fire place. The desired look is warm, low lighting as it will be set at night. I'm will use the minimal practicals as the main visable sources of light. I will have the fireplace, some candles and a lamp which will appear as the main source of light. I'm going for very soft and warm lighting. I was thinking maybe just one kino flo with a gel to make it a bit warmer If anyone would recommend a lighting set up for this I would be very grateful! Thanks
  7. Well I picked up this little ballast for a mini kino flo which is a little thing for lighting car interiors etc. It normally powers special little kino tubes but I wondered if I could get away with powering more off it and what kind of limitations such a ballast might have. Freya
  8. Hello you all, Could anyone tell me what kind of bulbs / lamps where used in this scene inside the garage? I'm guessing it's 5600k kino's but I'm not sure.. Thanks in advance!
  9. Hi, Whats the difference between utilising a 4x2ft (genuine) Kino Flo fixture with (genuine) 4x Kino Flo 5600ºK globes vs. utilising a third-party 4x2ft fixture with (genuine) 4x Kino Flo 5600ºK globes? For example, Light Pro make a fixture similar to Kino Flo's Diva 400, however has a more predominant reflector unit. Thoughts? Experience? Tips?
  10. Hey everybody, I'm a first time DOP working on a low budget short film, with tight deadlines and could use some help with lighting a medium size industrial type space. Its a dark rectangular room 15ft high high, 30ft long and 16 ft wide with no reflectable surfaces, except for the front wall which has a large white13x13 ft film screen on it, which I am thinking of using to bounce light off. Using 1k arri and a second light. Or a 4x4 bank kino flow. My lighting arsenal consists of two 1k tungsten fresnel arris, a 700w open faced arri, a 650w and 300w arri fresnel. And two Kino Flo 4x4 Banks. (tungsten) Some background info: We have one day to film and have 14 shots to do. The director wants a gritty realism feel. I want to keep the back ground lights stationary, to one side of the room. To create an ambient low light atmosphere through out the room. I was planning to bounce two Kino Flo 4x4 Banks off the walls, but since the walls aren't reflective bounce the kino's off foam core from the ceiling corner or just aim both Kinos at the scene from up high? Or should i light a 1k arri through a 24x36 silk to create a broader softer light source? As a key light I want dramatic directional lighting, slightly harsh. But with some fill so the shadows aren't jet black, and try to get the shadow edges a little feathered. For closeups Im thinking to use a 1k arri as a key 7ft high at a 45 degree angle with a 650w arri diffused from the barn doors as fill on the other side. And to move these two lights as needed and flood them out for lager groups off people. Any insight or opinions would be most helpful. * I have included a photo for reference of the room, on shooting day the room will be empty and darked out. Cheers, Mike
  11. Hello! Last year I was a part of a student production called "Punctum Temporis". A 10-minute, no dialogue, short film. My first time operating a Red One camera, so I believe I might could have gotten more out of it. Although I co-directed and wrote, I would like get some feedback on my cinematography for this one, as this is the branch I really want do continue doing. This was a small production with only eight crew members, so I ran the lighting and camera operating myself, while my camera assistant pulled the focus. Would appreciate any feedback!
  12. Hi there, at the moment I'm trying to find a light setup for a online guitar lesson video. I'm rolling on a 5D mk3 with a 24-105 f4 Lens. I'm posting here because I'll have to rent lights and wanted to know if my lighting setup would be good. Just some impressions to the scene. Filmed is just one perspective - from the front, framing around the head, guitar headstock, bottom of guitar and somewhere in the middle of the right arm. The background is deep, so no background paper or similar directly behind the talent. There are no windows, so no daylight. I drew a rough idea of the setup. Is that an acceptable setup or am I totally wrong? Are Watts sort of right? What would you suggest? Thank you very much, Pablo
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