Please recommend Light for lighting backgrounds during interviews

[John Sharaf]

Anderson,

I don’t think that’s a fair conclusion. I for one, will use whatever tool is best and appropriate for the job. I end up committing to a tool by buying it because that’s my business model and the logistics of having to drive across LA to Burbank to pick up a rental and then returning it after the job seems to take all the fun (and profit) out of it. On that basis it is fair to say that I’ve limited my LED light purchases to a few on-camera LitePanels and Zylights. That is not to say that I wouldn’t want some 1×1’s but at this point I find them tremendously overpriced. Furthermore I find that the LitePanels are really color correct, which becomes an issue when you use them in combination with conventional photo grade tungsten units.

There are many pros who swear by these LED lights, and it’s true that more and more examples keep coming to market, including some that imitate the spot and flood characteristics of a conventional fresnel. The qualities of low power, low temperature and variable color inevitably will make these units more practical and common, especial as economy of scale and competition drive the prices down. The bottom line is that at present one can usually find a more conventional unit to do the same function as an LED at a cheaper price; that is not to deny the “sexiness” of the LED technology.

JS

JS

[John Sharaf]

I meant to say that the LitePanels are “not” really color correct.

JS

[Anderson Black]

John thanks a lot for that viewpoint. I like your approach to things.

Yes I do find that there are various lighting techs with varying opinions on the matter from my research. At the end of the day you make a decision you have to live with whatever challenges arises and work around them.

Thanks.

[Dennis Size]

Actually Anderson many of us ARE using LED’s.
The dictate from most of our clients these days is to be totally “green”. Energy efficient fixtures that utilize minimal electricity, generate minimal heat, and require even less labor to maintain them, are the “marching orders” we live with on many of our current projects.
We designed the main BLOOMBERG Network Newsroom Studio using 100 LED fixtures as keylights.
Next week I am installing a Press Room facility in Africa for a presidential palace. The “studio” of 50 instruments is a mix of LED, Fluorescent, and CDM fixtures. I also did many other installations recently, such as the White House Press Room (where over 50 Lite-Panels were used), the State Department, the United Nations, ATLANTIC Media, the American Enterprise Institute (just finished last week with 30 color Kinetics iWhite LED fixtures), and 3 studios for CBS Radio — yep, RADIO! — that I finished last month using over 50 Color Kinetics eWhite LED’s as keylights.
We currently have proposals submitted to a few television networks for major studios using all LED’s in conventional instrumentation (such as lekos, fresnels, softlights).
The world and the lighting technology we use is changing FAST!
DS

[Dennis Size]

“Even a 55degree leko is going to have trouble filling the front of a 3×4 Chimera from the distance of a common speed ring, isn’t it? How do you get it to fill the front silk?

BILL: I’m very sorry, I got so long-winded in my response to lighting with lekos that I forgot to answer your direct question above.
I get the beam of light to fill the entire front silk in a lightbank by simply removing the lens barrel, creating a strong, wide, fairly diffuse light source. I’ve even taped tough spun over it to make a softlight. Shoot it through a diffuser to make it even softer if you wish.
Experiment and have fun. Just because a company makes an instrument to do one function, it doesn’t mean you must use it for that function — as is evidenced by the dozens of HOME DEPOT L.D.’s supplying their “Rube Goldberg” techniques to the FORUM over the years.

DS

[Bill Davis]

Dennis,

Thanks so much for your detailed and informed responses. It’s clear that even at the “top of the game” the changes in technology are making things complex.

I hope the younger guys here are noticing that no matter WHAT level of the industry one works in – the ability to think and adapt and consider alternatives to the way you might have originally done something (or the way you were “trained”) is critical to success in the long term.

The vast majority of my practice here in AZ has been “run and gun” EFP. And so the thought of adapting theatrical lights to field video production has never been much of a “front of mind” concept.

Since I own a small studio, however, I do use a few old-style lekos – primarily for pattern projection. As a final warning to the young guys coming up the ranks who are more used to new technology like color balanced Fluors and LED lights – I did notice about an hour ago when setting a pattern in one that I hadn’t used in about a year, that even if you turn the old guys on for say – 15 seconds with a pattern in the pattern holder – then you try to remove said pattern while neglecting to put your gloves on – you get a NASTY reminder in the form of an “idiot burn.”

Forewarned is forearmed.

Thanks again, Dennis for the info.

You’ll get a laugh

[Anderson Black]

wow Dennis it is indeed changing. That’s a lot of clients requesting LEDS. All the best with the gigs.

[Bob Cole]

[Dennis Size] “if I only had one choice of instrument to take with me on a shoot — it would be a Source 4 Junior zoom.”

I learned about this instrument on this forum and it has been a fantastic addition to the kit. I do wish it were smaller, and had a wider angle.

But my only real problem with the Source Four Jr Zoom has been the (im)balance on the yoke arm. It seems as if I have to crank the tightening handle like crazy to keep it from dropping after I walk away. So adjusting the angle turns into a major PITA. Is there something I’m missing here, or is there something I can do to the yoke arm to make tightening and adjusting its angle easier?

Bob C

[Dennis Size]

Wider? WOW…a 50 degree lens is pretty wide (although you could get full sized lekos with 70 and 90 degree lenses). With your lens set at 50 degrees, at a distance of 15′ you should be able to get a beam diameter of almost 14′-0″.

The Source 4 is known for its positive locking, hand-operated yoke clutch. I’m surprised you’re having a problem getting it to stay in position. Normally the only Source 4 I’ve ever had issues with are full sized units with a big 5 deg lens (which causes it to be front heavy). You should take it to your dealer as ask what you might be doing wrong — or what’s wrong with the fixture you have.

DS

[Bob Cole]

[Dennis Size] “its positive locking, hand-operated yoke clutch. I’m surprised you’re having a problem getting it to stay in position.”

Thanks for that; I’ve fought this thing for years, but I figured if Dennis Size said it should work easily, I should take a good look at the clutch. Turned out that it was very difficult getting the handle off the bolt due to a mis-thread. The threads inside the handle are toast, so I’ll be ordering a new one. I bought it used; this may be why it was so inexpensive.

As for the wide angle: I am often in small rooms for interviews, & like to use multiple camera angles, which require a lot of coverage in a short throw.

Thanks again. The Source 4 Jr. Zoom has long been one of my favorite fixtures, and now it will be even better.

I agree that for traveling light (no pun intended), a good fresnel and some blackwrap with punched holes can do wonders. I use a Tweenie (650 watt), which seems to do the trick.

Bob C