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Looking for three point kit.
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I’d like to throw in my two cents. Not disagreeing with what’s been said. I just today bit the $2300 bullet and bought myself an Arri kit, with Chimera softbox and fabric grid.
For the last four years I’ve been shooting with a cheap but rather remarkable 3 – 500watt softbox kit, that is not perfect, but is major bang for the buck. The kit is called a JTL Everlight kit ( https://www.jtl-lighting.com/ ). The kit is only $500, and you get 3 softboxes, 3 stands, and 3 lamps. I added egg-creates ($87 each). They say you can use 750 watt and 1000 watt, but that’s not true, they overheat and shut off. 500 watt is the max.
I’ve flown to Kenya, Spain, Ireland, and throughout the States shooting with this kit and it’s given me very little trouble. It’s not super rugged, but for the money, it’s a very good start. I added an LTM 420 Pepper as a kicker light, and used a Lowel Omni for a background light. I regularly used a reflector for the fill, but sometimes used the second softbox with a 300 watt lamp for fill. It looked quite nice.
This kit, with an Omni and Pepper would easily fit your budget.
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I’ll just jump into the fray here and say that my experience pretty much dovetails that of Leo’s.
For me the flourescent fixtures are a time-saving godsend. It’s super efficient to be able to go into virtually any situation with my Mole Biax 4 rig and not have to worry if I’m going to end up shooting in a tungsten or daylight world.
A bulb change can be handled in less than one minute, the units are cool to the touch, don’t pop circuit breakers, are natively soft and flattering, and with their higher “fall-off” they don’t pollute the BG. They’re much faster to set up than a typical Chimera type rig. And they’re dimmable.
If you do decide to move forward with a tungsten-based assortment of fixtures, I’d stay away from Lowell from a durability standpoint. One way you can save some money though is to use a cheaper (and lighter) open faced unit, as opposed to a fresnel, behind your Chimera.
But the smart money in the long run is on the Diva, and the new Barfly product that Kino will be releasing shortly.
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Hi,
So today, after being somewhat influenced by the talk of fluorescents, I looked up a four light Caselite. Whne I mentioned that to a local shooter he said he was very wary of them because he had heard of operating instructions that demanded that the tubes be oriented so that the “bottom” of the tube was “up.”
Apparently the concern was that particles in the tubes would fall down to the contacts and cause the tube to malfunction. Does anyone know anything about this?
Ty (audio is looking easier everyday except for mixing analog and digital wireless mics in one kit and then you might have problems) Ford
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[Ty Ford] “Apparently the concern was that particles in the tubes would fall down to the contacts and cause the tube to malfunction. Does anyone know anything about this?”
Not to worry. The contact end of a ‘U’ tube is where the heat is – it should be at the bottom.
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OK – here’s a cheap solution of a florescent interview kit. B&H Impact IMDLSF3K – $219.
3 stands, one with a boom arm – 30 watt daylight florescent lamps (150 watt incandescent equivalent)93csi
I bought it for shooting small products – but tried it today as an interview kit – worked great, no heat!
For the price, I was surprised at how well it was constructed and how even the light.
Don’t laugh – that leaves $1300 in your budget.
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[Ty Ford] “operating instructions that demanded that the tubes be oriented so that the “bottom” of the tube was “up.””
Kino says you should tilt the fixture so the tube’s bottom is higher than the tip, to keep mercury away from the cathodes and maintain better color stability. Lowel’s Caselite alternates the tops and bottoms of its lamps, so that would not be possible with a Lowel.
Leo’s right about the price of the Diva by itself, but with bulbs, accessories, case, it’s going to cost several hundred more.
I would like to point out to the lighting expert community that Ty is a good friend of mine, and that as far as I know, as a shooter, he is a fantastic sound man.
— Bob C
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Good morning, Bob!
I don’t know whether you made a typo or the ultimate put-down of poor Ty! Still trying to figure this one out, “as a shooter he’s the ultimate sound man.” I’m sure you didn’t mean it the way it sounded, but I do plan to use it in my bag of jokes!
My own purchasing philosophy has been to buy only professional equipment or rent until I could. The few times I’ve violated this rule have had less than satisfactory results. Generally speaking, cheap equipment doesn’t perform as well, doesn’t hold up, and ends it’s life in the dumpster.
I realize it’s a dilemma; when the budget won’t allow what’s needed for the job, but we tend to be a resourceful bunch in this business, and we usually find a way. Sometimes it’s changing the demands of the job rather than approaching it ill-equipped.
Of course a head-shot kit is so fundamentally necessary, we’ve got to purchase something that works for us and there are many, many solutions ranging from open-faced lights bouncing off cards or umbrellas to giant Kino Wall o Lights.
When I recommend to someone developing their first kit, I suggest lamps that are safe, produce beautiful results, are flexible, easy, and fast to employ, and have lasting value. That’s why I recommend Mole Richardson and Kino Flo. Doubtless there are others, but these I know and trust; they have performed well for me for many years.
Ty, if you can rent or borrow a kit, or better yet, work with someone proficient with the lamps, you’ll be able to find the system that works best for you. If you are in my area, you’re welcome to come to my studio and play to your heart’s content. Surely others at the Cow would be glad to help you.
Good shooting!
Leo
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[Leo Ticheli] “Ty, if you can rent or borrow a kit, or better yet, work with someone proficient with the lamps, you’ll be able to find the system that works best for you. If you are in my area, you’re welcome to come to my studio and play to your heart’s content. Surely others at the Cow would be glad to help you.”
Good advice. I volunteer too.
[Leo Ticheli] “I don’t know whether you made a typo or the ultimate put-down of poor Ty! Still trying to figure this one out, “as a shooter he’s the ultimate sound man.” I’m sure you didn’t mean it the way it sounded, but I do plan to use it in my bag of jokes!”
Yeah, it was a joke. For those who do not know, Ty has literally written the book on audio and is a fantastically skilled sound man. Unfortunately he also has an unquenchable appetite for trouble, I mean, for more knowledge.
— Bob C
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Thanks guys/gals,
Leo, I appreciate your sense of humor. At this point I’m a much better sound person than a shooter or LD, but, providing I am given a few more years on the planet, I may change that.
Here’s what I know. In speaking to anyone with a lighting kit, EVERRYONE has a room somewhere in which they have tossed lighting gear that was a bad purchase and didn’t do what they wanted or expected. I’m trying to leapfrog that and get gear that I’ll be able to use and keep on using. Right now I need lighting for one shot and two shot, probably 16:9 interiors with no windows. Windows will eventually come into play.
Lightweight, functional tools that will remain part of my kit. That’s what makes the most sense to me. My experience (as a soundman + grip) is that a soft key light, fill light, hair light and some backlight toys should get me where I want for this stage.
Is that so wrong!?!? 🙂
Regards,
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com -
Hey Bob,
I resemble that!
Ty
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com
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