We take a look at the CAME-TV Boltzen announced at IBC 2016. This new ultra-compact LED light with 30W power offers a fresnel lens for beam control, demonstrating that advancements in LED light technology keep getting better and better. Compared to their other range of LED lights, the CAME-TV Boltzen features an adjustable and removable Fresnel lens to adjust the beam angle from wide spread to narrow beam. CAME-TV Boltzen – the specs in a nutshell: 30W brightness Compact LED form factor Single colour temperature daylight Compact and lightweight High CRI (96) Stepless dimming control via dial from 0 to 100 Powered from NP-F type batteries, with a running time of up to 1.5 hours. It can also be powered by 12V DC The housing is metal, designed to dissipate heat as the light itself is fan-less for quiet operation The light has a 2.4GHz wireless control to adjust on/off and brightness via wireless with an app, too Alhough there are no plans to release a bi-colour version of the 30W model, the 60W and 100W models will be available in both single and bi-colour versions. The CAME-TV Boltzen lights are available to pre-order as a single unit from $258.00 or in sets.Read more
Say hello to the Rayzr 7 family of LED Fresnel light fixtures with true white reproduction. Could this be a a true replacement for tungsten lights? The Rayzr 7 lights are the brightest in their class, boasting 1.5x more brightness than traditional 1kW tungsten fixtures. It’s available in 4 models ranging in brightness and colour, and is flicker free up to 15,000fps for both high speed filming or still life. The light is rated at 10675 lux at 3m, with a colour rendition TLCI of 98% resulting in true whites. The unique Fresnel design minimizes chromatic aberration, and also allows shaping the beam of light from spot to flood with the turn of a dial. The daylight models (300 Daylight and 200 Daylight) output 300W and 200W respectively at 5600K, with a beam angle ranging from 18 degrees to 50 degrees. The bi-colour models (300B and 200BM) can smoothly transition between 3200K and 56ooK without losing light intensity. For setups on the go, the Rayzr 7 can also be powered by battery packs as well as AC power, as LED translates to low power consumption and cooler operation. The bi-colour 200BM is rated at 100W+100W while the 300BM model is brighter 150W+150W. Here are the specs of the four models – With a starting price of €939.00 ex VAT, the Rayzr 7 lights would make ideal fixtures on a wide range of sets, with superior brightness compared to 10″ Fresnels. In addition, its weight of 6.64kg and the ability to be battery powered makes them a portable and lightweight fixture for its class. They are available for pre-order from CVP now from £816.52 ex VAT.Read more
Kinotehnik started as a start-up company that manufactured loupes for video DSLR cameras. Their product was a hit and they went on to make electronic viewfinders. With the Kinotehnik PRACTILITE 602 they’re now entering the lighting market and this smartphone controlled LED looks both powerful and affordable. The Kinotehnik Fresnel LED caught our eye, not only because the brand has a history among DSLR filmmakers, but also because it looks very interesting with its small size and powerful output. The fresnel LED is bi-color to produce daylight and tungsten light temperatures and outputs an equivalent to a 600W tungsten lamp. What is also interesting is that it can create a very parallel beam that can be flooded with an internal motor to accommodate soft boxes of different sizes. It is compatible to a number of softbox brands and there will be different speedring options. Also Tonis said they plan on making a bigger model light with 4 times the output that would still be under $1000. The lights can be controlled with a smartphone via a bluetooth connection. Several units can also be controlled in parallel. The Kinotehnik PRACTILITE 602 will be available in July and run for $690 at the Kinotehnik website.Read more
Beyond the camera and lens, the most important technical and creative skill you can have is learning to use and shape light. A good place to start is knowing the tools you have at your disposal. Know your fixtures Before we get into the types of film lights, let’s take a quick look at the two most common types of fixtures. Open Faced An open faced lighting fixture is used to create hard light that casts hard shadows. It is not much more than a housing and reflector for the bulb, and provides nothing in between the bulb and the subject. The commonly known 800W “Redhead” and 2000W “Blonde” are examples of open faced video lights. Fresnel A Fresnel lens is a special type of lens that is divided into concentric circles, resulting in a much thinner lens than a conventional lens of the same power. This lens evens out the light and allows for the beam to be varied from flood to spot by changing the distance between the lamp/reflector unit and the lens. Practicals A practical light is considered any light source that will appear in the scene such as a table lamp, any visible interior light sources, even a hand held flashlight. Often existing bulbs are swapped out for those of different wattage or color temperature depending on the needed effect and desired contrast ratios within the scene. Performance Factors CRI CRI stands for Color Rendering Index. It refers to the ability of a light source to properly and faithfully reveal the color of an object compared to an ideal or natural light source. The highest possible CRI is 100 and is attributed to a perfect black body (a tungsten light source is a perfect black body, as is the sun). Color Temperature Color temperature refers to the “color” of white light emitted by a light source based on that radiated by a perfect black body at a given temperature measured in degrees Kelvin. White light can be warm (yellow/orange) or cool (blue) and our eyes automatically adjust. However, the color temperature of light sources and especially the mixing of different color temperatures becomes very important when designing film lighting. Temperature Source 1,700 K: Match flame 1,850 K: Candle flame, sunset/sunrise 2,700–3,300 K: Incandescent lamps 4,100–4,150 K: Moonlight 5,000 K: Horizon daylight 5,500–6,000 K: Vertical daylight 6,500 K: Daylight, overcast 15,000–27,000 K Clear blue poleward sky Know your light sources Tungsten (Quartz Halogen/Tungsten Halogen) Tungsten light sources are basically related to the same type of incandescent filament bulbs which until recently were common in homes and offices everywhere. The key difference is that these use bulbs that take advantage of what is known as the halogen cycle. The pressurized halogen gas inside the bulb helps to redeposit evaporated tungsten metal back onto the filament. The glass bulb is made from a much stronger quartz or aluminosilicate glass. The lamps operate at a higher temperature than normal incandescent tungsten bulbs, and so they can achieve a higher color temperature, and higher luminous efficiency. They naturally produce a warm light, but blue color correction gels can be used to simulate daylight. Tungsten lighting fixtures can be open faced or Fresnel up to about 20kW in power and are dimmable. They produce a continuous spectrum of light from near ultraviolet to infrared, producing near perfect color rendition. When dimmed tungsten lights become warmer in color, so gels are needed to correct the color temperature. Uses Tungsten lighting is usually used to light interiors as it matches the warm light associated with domestic incandescent lighting. Advantages Near perfect color rendition Low cost Does not use mercury like CFLs (fluorescent) or mercury vapor lights Better color temperature than standard tungsten Longer life than a conventional incandescent Instant on to full brightness, no warm up time, and it is dimmable Disadvantages Extremely hot High power requirement The lamp is sensitive to oils and cannot be touched The bulb is capable of blowing and sending hot glass shards outward. A screen or layer of glass on the outside of the lamp can protect users. HMI HMI stands for Hydrargyrum medium-arc iodide and is a metal-halide gas discharge medium arc-length lamp. A HMI bulb contains mercury vapor mixed with metal halides. An electrical arc between two electrodes excites the mercury vapor and metal halides resulting in a very high light output and luminous efficiency. HMI lamps are capable of between 85 and 108 lumens per watt, up to four times that of conventional incandescent lamps. The specific mix of gases in a HMI bulb is designed to emit a 6000K color temperature light, closely matching natural sunlight. Electronic ballasts produce a flicker free light due to their very high frequency operation. Pulse width modulation can be used to dim HMI lights. Uses HMI’s are often used when high output is required and when recreating or augmenting sunlight shining into interiors, or for exterior lighting. Powerful HMI’s can be used to light large areas. Advantages Very high light output Higher efficiency than incandescent lamps High color temperature Disadvantages Relatively high cost, but this is balanced out by increased output High power requirement Requires an external ballast for arc ignition (up to 70,000 volts) Dimming is possible only to about 50% and the color temperature increases in conjunction with dimming, thus creating a bluer light If dropped while lit an HMI bulb can explode releasing super hot quartz glass and mercury vapor Fluorescent A fluorescent lamp uses the excitement of low pressure mercury vapor to produce ultra-violet light, in turn causing a phosphor coating on the inside of the glass tube to glow giving off light in the visible spectrum. A fluorescent light is much more efficient than an incandescent light, and is capable of generating up to 100 lumens per watt, similar to the output of HMI. The spectrum of light emitted is different to an incandescent source and depends on the mix of phosphors used. However a CRI up to 99 can be achieved. The color temperature of a fluorescent can vary also from 2700K to 6500K depending on the phosphor mix. Uses Fluorescent film lighting is most often used in fixtures containing banks of tubes. These tubes are normally either tungsten or daylight color balanced, or the tubes can be mixed within the fixture to vary the overall color mix of the light. They produce a soft and even light and can be used in relative close proximity to the subject. Fluorescent lighting is often used to light interiors and has the advantage of being more compact and cooler in operation than tungsten or HMI lighting. Advantages High efficiency Low power requirement Low cost Long lamp life Cool Capable of soft even lighting over a large area Lightweight Disadvantages Flicker can be a problem with domestic fluorescent installations not intended for photographic use. Those designed for film use have electronic ballasts and produce flicker free light. Fluorescent lights for film use have a high CRI, however the use of domestic tubes may have a far lower CRI and poor color rendition. LED LED stands for light emitting diode and is a solid-state semiconductor device. Only recently, LED’s of sufficient power have become available to make practical LED film lighting possible. LED’s are extremely efficient but are still limited in overall light output when compared to any of the other light sources. LED’s are by nature monochromatic, producing only a single wavelength of light. So the challenge of LED lighting has been in creating a full spectrum white light. This can be done in two ways, either by combining the light of red, green and blue emitting LED’s, or with white LED’s whereby the visible white light is actually created by phosphors that are excited by an ultra-violet emitting LED. LED lights can be daylight or tungsten balanced, sometimes switchable or having variable color temperature. Some have variable color through the entire RGB spectrum, which is something not possible with any other lighting technology. The CRI rating of LED lighting can be over 90. Uses LED’s are becoming more and more common on film sets. They can easily be battery powered making them very portable and requiring no separate ballasts or heavy cabling. Panels made from LED lights can be small and compact, or large for a variety of situations. LED’s are also powering more traditional Fresnel style lamp heads such as the Arri L-series. Overall power outputs are on the rise, which is good news. Advantages Soft, even lighting Pure light without UV-artifacts High efficiency Low power consumption, can be battery powered Excellent dimming by means of pulse width modulation control Long lifespan Environmentally friendly Insensitive to shock No risk of explosion Disadvantages High cost. LED’s are currently still expensive for their total light output. Luminous Efficiency Compared Tungsten Quartz Halogen: Up to +/- 35lm/W HMI: Up to +/- 115lm/W Fluorescent: Up to +/- 100lm/W LED: Up to +/- 150lm/W There is no Winner When all is said and done, all of these lights have a specific purpose, and you’re likely to see them all on any film set. Not one of these lights can be used for every purpose and any lighting kit list would be severely compromised if any of these were missing. Big HMI’s are going nowhere. When you need to manufacture sunlight, the only way to do it is with big power hungry HMI’s. There is simply no other way to generate that amount of light. Yes, this means generator trucks and added crew, but when it comes to lighting big exteriors none of this is about to change. Even on a conservative job I would suggest having a 2K and 5K HMI available. Tungsten light is cheap and is still the workhorse of interior lighting. LED Fresnel technology may at some point reach a practical equivalence but even with Arri’s most powerful L-series, it’s not going to replace the medium to high output Tungsten lamp heads soon. LED’s are also a permanent addition to the lighting department. For space restricted setups and the sheer portability that battery power affords these lights have become indispensible. Fluorescents provide a lovely soft even light. They offer higher output than LED panels and can be larger in size, although LED panels can of course be tiled. Fluorescents are also very cost effective. That covers the most common types of film lighting, but it is only the beginning of the story. Creating light is one thing, but shaping and controlling it is the most important skill of all to learn.Read more
LED technology has hit the filmmaking industry hard over the last few years. Most boasting they’re low power, soft light capabilities. The Sola 4 is part of a line made by Litepanels that goes in the opposite direction (in terms of light quality). The Inca and Sola lines are hard light LED fresnels. What’s great about hard light sources is their flexibility. They’re much more efficient when modifying the light; it’s easier to make a hard light softer than it is the reverse. The Sola line is the daylight balance of the two (Inca being Tungsten). Being an LED light it draws very little power (39W), and runs very cool. As a result of the latter, much of the light housing is constructed from plastic. Litepanels make a Sola 4,6 and 12; the number relating to the size of the lens diameter (in inches). The Sola 4 is DMX controlled via dual Ethernet. Both the focus and brightness of the light can be controlled remotely via this medium; they also have manual dials on the back. The zoom has a fairly wide range, offering a 72 to 13° beam angle. The light is DC powered via 4-pin XLR; it also comes with an AC adaptor that is mounted via a very neat sledge under the light fixture. Pros Accurate color Light weight Low power consumption Neat AC adaptor sledge Wide battery compatibility Cons Plastic build quality Expensive (especially considering build quality) Low light output for relative size (size of a 650W tungsten fresnel, output closer to a 300W). The Litepanels Sola 4 is available for purchase now for $1345,50. Additional camera work by James HaddockRead more
We thank our sponsor B&H who has made cinema5D’s news coverage of IBC 2012 possible. Get your gear through B&H to support this platform: www.bhphotovideo.com So what are these Litepanels Sola lights you wonder? Me too, so I had Ali from Litepanels explain that to us at IBC. This looks like a nice light kit considering that according to the manufacturer these daylight lamps offer an output comparable to a 100W HMI. The Sola lamps are 30W LED lights in a fresnel-like single light enclosure, much like the Arri L7-C we saw yesterday (LINK). The Sola ENG kit has the following in it: – Sola ENG x3 – Gel Kit (Set of 3) x3 – Ball Head Shoe Mounts x3 – Shoe Mount Conversion Kits x3 – Barndoors x3, AC/DC Power Supply x3 – AC/DC Power Cord x3, TVMP Mount x3 – D-Tap Cables x3, Nano Stands x3 – Pelican 1510 Case with Custom Foam – Lastolite Fold up Soft Box, Diffuser The Sola ENG kit is currently $2695:Read more
We thank our sponsor B&H who has made cinema5D’s news coverage of IBC 2012 possible. Get your gear through B&H to support this platform: www.bhphotovideo.com Arri is one company that keeps being successful at what they do. Their stuff just works and is extremely reliable. They offer some of the best quality in our field of work and come up with new devices every year. Here’s a new lighting fixture that I found very intriguing. The L7-C is an LED light that is built to imitate the characteristics of a typical fresnel lens. So it gives you the nice varying beam at a very low weight. What is special about the L7-C is that you can tune in any color you desire which makes using gels obsolete and gives you full control over your image in a very simple and cost effective way.Read more
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