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Genuine Kino Flo vs. Third Party with Kino Flo globes?


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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?

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I believe that the T12 kino tubes are built with higher-current electrodes to accommodate the higher output ballasts, but I'm not sure if that will cause colour shift if you use a conventional, non-kino ballast. I have been repeatedly told that it doesn't, but that could mean "not to any great extent".

 

I assume that the T8 kino tubes, which seem to be intended for people to use as replacements in location fittings, don't have that issue, so you could use those.

 

I have tried shooting reasonable-quality high frequency electronic ballasts with an FS700 all the way up to its (rather soft and noisy) limits of 960fps without problems, if that's your intention.

 

P

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Apparently there are also some pretty good non-kino tubes out there, which are presumably cheaper. I've never used them, and I see mainly references to daylight tubes, not tungsten.

 

P

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We use GE Cinema Plus and Osram DULUX lamps in various fluorescent fixtures. I don't think they're much cheaper than KinoFlo, but there's no question that they're matched to regular ballasts.

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  • 2 weeks later...

John, I get the impression from your posts here that you are one of the three people in the UK who work on nothing but super-high-end TV drama, commercials and features where it's OK to spend twenty minutes selecting the exact right grade of minus green and putting filters on lights. Most people in the world - especially in the UK - don't live in a world where a crew wants to stand around watching you do that.

 

About the only functional advantage of LED is that it's dimmable with little or no colour shift. Almost no other technology is (theoretically metal halide lighting can be dimmed a bit, at terrible cost to lamp life, but it's almost never done).

 

P

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Phil is as bitter as me, i love it.

 

Dimmer is kind of useful but itd be easier to just turn bars off. DPs dont like Divas as theyre magenta and go mega magenta when dimmed.

 

If you were wanting to dim them youd have some precut nd. I have a metal thing i slide in the side to cover bulbs.

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I think LightPro seems to overdrive tube a bit. The ventilation in the fixture also play the role in G/M shift especially for Kino tubes which used Full-spectrum Phosphor that can't withstand heat like Tri-band.

 

I've play with this kind of tubes a bit.

 

- Osram Studioline 55/5600 : Magenta cast, not deep in red great for green screen. Tri-band tube Magenta added.

- Osram Dulux L 55/954 : Green cast, poor skin tone. Tri-band tube.

- GE Cinema Biax 55w/5500K : Better than Dulux L in skin tone. More match to natural daylight than Studioline. It's tri-band tube.

- Philips Graphica T8 36W/950 : The best of all tube I have own. Full-spectrum CRI 97!! Match perfectly with natural daylight. Some how 5300K which warmer than Kino KF55.

 

GE have CinePlus tube which is full-spectrum tube similar to Kino KF55 more expensive than Cinema Biax.

 

Look carefully if you want to buy GE one. Cinema and CinePlus are not the same kind of tube.

Edited by Chanon Wangtrirat
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Phil is as bitter as me, i love it.

 

Dimmer is kind of useful but itd be easier to just turn bars off. DPs dont like Divas as theyre magenta and go mega magenta when dimmed.

 

If you were wanting to dim them youd have some precut nd. I have a metal thing i slide in the side to cover bulbs.

 

True. It'd be pointless to go around with a colorimeter instead of just throwing some nd. Although, one could sort of eyeball the minus green with a bit of trial and error off set.

 

As a defence, my imagination was under the unfluence of copious amounts of caffeine and a few days off when I wrote my previous comment.

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