Is this a good lighting kit?

[Rick Wise]

I’ve had no hands-on experience with these lights. I have found almost every non-KinoFlo unit has a green spike. You can roughly correct that with 1/8 or 1/4 minus green. Also, this kit includes full daylight to tungsten conversion gels, but the effective way to go is to replace the daylight bulbs with tungsten bulbs.

Fluro type bulbs can be very useful. However, they are all broad, relatively soft lights and next to useless when you want hard hits, sharp shadows.

If you can figure out that your shooting will be mostly in daylight situations, then you might put together a smaller but more effective kit for a similar price. On the other hand, you can begin here, with this kit. Just be sure to get a bunch of 1/8 minus green sheets (better would be a roll) that you can double or triple to correct the green spike, assuming these units have such. Later you can add a Joker or other HMI, as budgets permit.

For exteriors, it usually takes a lot of wattage to have any impact against sunlight, so you may be better off adding grip equipment. One place to start is the Sunbounce reflective and also diffusing rigs. Or else go for an 8×8 and 12×12 frame with various diffusion (1/2 grid), high-rollers, sand bags, and reflective goods. Any time you use such grip gear outdoors, you need several extra hands to make sure they don’t blow over and cause serious damage to people and objects.

If, on the other hand, your shooting will be mainly night time, or deep interiors without any daylight, a tungsten package would be a better way to go.

Rick Wise
director of photography
Oakland, CA
http://www.RickWiseDP.com
email: Rick@RickWiseDP.com

[Dennis Size]

It’s certainly servicable … but limiting.
Your question is a difficult one to answer, however, without knowing what your level of experience is ….and how extensive your lighting will need to be.
In the hands of a “master”, magic can be created from a bunch of crap bought at the lighting department of HOME DEPOT. In the hands of someone who doesn’t know what he’s doing the most priceless lighting package on earth will only yield pictures that look like crap.

DS

[Chance Snider]

Thanks a lot for the feedback guys, right now my lighting knowledge is very limited but I’m going to be taking some classes. How effective are the joker lights and how would they be better then what this kit provides? Also You said I should add a grip explain please? When it comes to all the lighting kit terms I’m useless lol

[Dennis Size]

Although classes are good — as are books and trade journals — practical experience can not be beat. You would be best served to find as many projects as possible to work on (from theatre to industrials, television to films) … no matter what level they are at, and even if you have to volunteer your time. Once you start observing the grips, electricians, lighting directors, DP’s, etc. you will gain invaluable knowledge and be better able to properly do your own projects.
Good luck,
DS

[Chance Snider]

Thanks a lot, I also know some people who seemed to be a little experianced so I can learn from them. I’ll have the lighting kit months before shooting begins so I’ll have time to practice. By the way those joker lights are extremely expensive but I keep hearing good things about them. Would they be worth renting for outside day scenes? Or could I get away without them?

[Peter Rummel]

There are many different tools (lights) for lighting a video. Flourescents are just one tool. You could also have fresnels, open face halogen, HMI, elipsoidals, LED, PAR, photofloods, and others I can’t come up with off the top of my head. Each light has advantages and disadvantages. Each light would be the perfect tool in one usage, but struggle in others. As I see it, the problem with the kit you have picked out is that it only has one tool – flourescents. It’s kind of like a carpenter with nothing but hammers.

You say you’re working on an “indie film” this summer. That could mean, well, anything. Interiors, exteriors, high key, low key, natural, stylized… A box full of flourescents might work well on a soft interior love story, but it wouldn’t do a noir thriller.

I think the most flexible light available is the fresnel. It can be hard or soft, as needed. If you are limited to one type of light, this is the light I’d pick. For about the price of your kit, you could get an ARRI kit (https://www.bhphotovideo.com/c/product/72161-REG/Arri_571984_Softbank_I_Tungsten_4.html). Yes, it’s only 4 lights, it won’t put out as much light as your kit, it’s really interior only, and they can be hot and inefficient. But they’re professional lights with professional controls and are an excellent start to a lighting package. I bought mine 12 years ago, and I use them almost daily.

A Joker is a brand of HMI lights. HMIs put out a lot of light per watt and are daylight balanced. But they’re also really, really expensive, and I honestly think you don’t need to think about buying one. If you have need of an HMI, they’re available for rent.

Lighting isn’t all about the lights. Far from it. Grip equipment would be rigging, or tools that modify the light. Flags, nets, reflectors, overheads; that sort of thing. Really, a must for any project.

Dennis is absolutely right when he recommends a little practical experience.

[Dennis Size]

That was an excellent synopsis, and very good advice. I second Peter’s opinion regarding the ARRI kit. It will service you well … and you’ll learn a lot more working with lighting instruments that will force you to learn how to control the use of light more specifically.

DS

[Chance Snider]

Thanks for the feedback! The film I’m shooting will be at night mostly with more interior then exterior but there will be day and night scenes outside. Just not many if that helps.

[Richard Herd]

a light meter too! https://www.sekonic.com/products/Sekonic%20L-398A%20STUDIO%20DELUXE%20III.asp

[Dennis Size]

Are you actually shooting film …. or video?

DS