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Found 57 results

  1. 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
  2. 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!
  3. 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.
  4. 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
  5. 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
  6. 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
  7. 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!!!!
  8. 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
  9. 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.
  10. 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
  11. 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!
  12. 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
  13. 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
  14. 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.
  15. 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
  16. 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?
  17. 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
  18. 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.
  19. 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
  20. 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.
  21. 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.
  22. 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
  23. 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
  24. 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?
  25. 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.
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