KinoFlo vs Softbox

[David Rakoczy]

Absolutely Kyle. I completely agree. :)

 

We were just expressing our love of the equipment and how much fun (it can be) playing with it and the enjoyment of using mechanical items for an artistic end.

 

I love coming back to the Set from lunch and seeing all that we built for the shot... re-entering the labor-a-tory is always exciting!

 

Let's face it.... who doesn't like Tinker-Toys?

[Daniel Carruthers]

I used a kino flow diva light for this music video I shot a few months back

it was the only light I used 90% of the time, with the occasional bounce

I think the light from the diva light is beautiful, I also kept on the diffusion screen that comes with the unit to soften the light even more, I think the color of light and quality was great

I used no gels or anything I just kept the camera at its tungsten setting and the lights where tungsten

heres the link to the video if you would like to check it out

it was all shot on a canon dslr with stop motion and body paint

[Karel Bata]

Kyle, no artist will ever amount to much if they don't love their tools. And I think you're missing something unstated here, which is the sheer behind-the-scenes eccentricity and obsessiveness that is involved in making something that has some polish. The first time I saw the care that went into a car advert, with the props guys carefully shining up the bumper I thought "This is nuts!" but I fell in love with it and knew that I belonged. That table-top set pictured above is totally whacko (but necessarily so) and is part of a private world that only those that do it actually understand.

 

It's also a microcosm of a whole industry that is whacko to the core. You have to love it. :D

[David Rakoczy]

btw... The pin-hole in the Follow Spot and ceiling schematic is sheer genius!

[Karel Bata]

And you knew that every now and then there'd be someone in the audience who'd think "How did he do that..?"

 

Ever heard of pot dimmers? Before my time, but they were a legend. They consisted of a 'bucket' of saline solution into which a conductor would be dipped. The level of dipping determined the current flow (but even as I type this I have my doubts about the credibility of this!). This arrangement would get a little warm during a show and some solution would evaporate. So it was one of the chief electrician's responsibilities to spend the first act drinking large quantities of beer down the pub so he could top up the pots during the interval. Apparently this took some skill, as a continuous stream would form a complete circuit.

 

I always had my doubts about that story, but I'm sure that elements of it are true. :lol:

 

 

Actually Kyle, there have been times when I would agree with you. I too have seen a crew working hard on getting the technicalities of a shot right, yet somehow telling the story has taken a bit of a back seat. The trick is finding the right balance. Easy to say of course... :huh:

[David Rakoczy]

mmmm.. never heard that one.. we have put carbon rods into the female end of 2/o Cable and using a female to female adapter put a carbon rod into the other Cable... then.. start touching them together for Lightning! That's real safe. Sure looked great tho! B)

[Karel Bata]

Done that! Put all that in a box for safety (shame on you!) and a big glass slide picture of a fork of lightning on the front and you can project a nice stylised lightning fork. :D

Edited May 19, 2009 by Karel Bata

[Karel Bata]

I used a kino flow diva light for this music video I shot a few months back

it was the only light I used 90% of the time, with the occasional bounce

I think the light from the diva light is beautiful, I also kept on the diffusion screen that comes with the unit to soften the light even more, I think the color of light and quality was great

I used no gels or anything I just kept the camera at its tungsten setting and the lights where tungsten

heres the link to the video if you would like to check it out

it was all shot on a canon dslr with stop motion and body paint

Nicely shot, and yes the skin tones look good. But... that is YouTube, and video is definitely more forgiving of green spikes than film.

 

Canon D90?

[Daniel Carruthers]

Nicely shot, and yes the skin tones look good. But... that is YouTube, and video is definitely more forgiving of green spikes than film.

 

Canon D90?

 

Thanks Karel

to be honest I cant even remember the model of the camera? lol

It was a canon

it was not the canon 5d mark 2, but I think it is the model before that one?

its a funny story we got the camera about 6 hours before the 1st shot

And I didnt even know what camera it was going to be before hand,just that the director had a photographer friend who was willing to lend us his camera.

We didnt even know if the directors idea was going to work,it was my 1st time doing stop animation as well as the directors lol

I was fortunate to get access to some great lenses

all canon glass:)

 

your right about film being more sensitive to green spikes

I have yet to use the kino flo diva light on film

[Kyle Stueve]

Kyle, no artist will ever amount to much if they don't love their tools. And I think you're missing something unstated here, which is the sheer behind-the-scenes eccentricity and obsessiveness that is involved in making something that has some polish. The first time I saw the care that went into a car advert, with the props guys carefully shining up the bumper I thought "This is nuts!" but I fell in love with it and knew that I belonged. That table-top set pictured above is totally whacko (but necessarily so) and is part of a private world that only those that do it actually understand.

 

It's also a microcosm of a whole industry that is whacko to the core. You have to love it. :D

 

Hey,

 

I completely agree with you, I love all that, I think that is what got so may of us started in the first place. I just think it should never take back seat to story telling.

 

 

 

Thanks a lot

[giap vu]

I see the complicated kitchen lighting setups, and the comment someone made about how the grip set ups are art in themselves reminds me of something Gordon Willis said.

 

"people get so caught up in the process and really forget it is a means to an end"

 

I agree that people, it seems are so caught up in the equipment to make the film rather than the film itself. I think as cinematographer we should never get more caught up in the tools and forget about what we are really there to accomplish.

 

That’s just my two cents, I don’t mean to offend.

i guess we could consider the sad fact that most of what we creatively put our signatures on, i.e. rigging/ lighting, ends up inconsequential after final edit and delivery of something far inferior from the whole process; which is all that is pure and worth mentioning compared to an end product that is, for the most part, disappointing and often times depressing if it weren't for the relationships cultivated and introduced