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Mixing Flo Key and Incandescents

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    Mixing Flo Key and Incandescents

    I'm going to be slowly building my light kit, and I wanna start with a key. Flourescents intrigue me, but I still wanna end up with a couple fresnels, too. So my initial thought is to have a flo key, and then a couple Arris, like a 650 and 300. What I'm wondering is how well the flo and fresnels will match up on video. Does anyone have a grab handy that they could post where you mix a flo key with incandescents for back and fill?

    Having never worked with flo lights, do you set up a flo key in the same way you would a softbox incandescent?
    Mike McNeese
    Director of Photography

    #2
    Good question. I just got a Rifa 55 softbox set up and I was wondering how others mix this with a fill and rim and back ground light for sit down interviews.

    Was thinking about getting a Flo-Light as a key instead of the Rifa 55 and I may still get the flo depending on how the Rifa works out but in either case it would be good to hear how others mix sources with a soft key.

    Comment


      #3
      I've found colour temperature wise Kino Flo's K3200 tubes are cooler than most incandescent lights so I normally have to gel the Kino's with 1/4 or 1/2 CTO (depending on the age of the incandescent lamp) to get a match. Kino Flo also make a K2900 tube that'll probably match better. That said I find the light coming from a flourescent very clean, almost clinical looking, but that's a subjective observation. Either way they match pretty good. It's a matter of taste and practicality of the production and shooting situation.
      www.barrycheong.com

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        #4
        They mix perfectly fine. I'm sure you've seen the mix of lighting units in dozens of movies you've seen and just haven't realized it. And I'm not sure what you mean by the setting it up in the same way? You put both on a stand and aim it where you want the light? Not much else to it.

        As for Kelly, how to mix the rifa with fill and rim and background for interview? I'd probably just use the rifa as the key. I think people think about these things way too complicated - all it is is a very diffused tungsten source - a perfect easy to set up soft key for interviews. Set that up, see how it looks and add from there.
        http://www.TheThrillMill.com

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          #5
          Look at your scene and what the natural light sources would be. You may have an outside light source such as daylight and iinterior light, such as table lamp etc thats more tungsten in colour so, light from those sources. Then add your fill. Was watching the lighting in oliver twist yesterday and how they matched everything up. Very nicely lit movie btw.

          You can basically buy gels to match any light colour if you wanted them all the same.
          w: Noel Evans TV

          e: noel@noelevans.tv
          p: +61 (0) 408 455 374

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            #6
            Well I guess here's what I meant by my setup question - how does the flo light behave compared to tungsten? Fall-off faster? I'm used to using a 650w Arri with a small Chimera. If you guys are mixing the sources, I guess I can too. Now off to dig through all of the FloLight vs. Kino threads...
            Mike McNeese
            Director of Photography

            Comment


              #7
              Check out this post... Not a lot of framegrabs, but the first day was all shot with a florescent and Fresnels.

              http://www.dvxuser.com/V6/showthread.php?t=58761

              You can check the videoclip here:

              http://www.youtube.com/watch?v=mQqXQva7ouE
              www.juliotaubkin.com

              Comment


                #8
                I have 2 kino-flo diva's. A 200 and a 400 and I love them. My feeling is that they "fall off" faster than tungsten but they are harder to control than a small fresnel with a chimera. They each have pro's and con's. I use the kino's mixed with natural light lamped with a mix of warm and cool lamps, set the wheel (or balance) to 4300 and let the tungsten edge or background lights stay warm. The diva's are also great doc lights asd they travel well, set up quick, and can swap temperature.

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                  #9
                  Ive used Kinos for a mix with natural external light before. Came up nicely I thought.
                  w: Noel Evans TV

                  e: noel@noelevans.tv
                  p: +61 (0) 408 455 374

                  Comment


                    #10
                    Ok, don't wanna drag this out too much, but what options should I look at for something to replace an Arri 650w Fresnel with a small Chimera?
                    Mike McNeese
                    Director of Photography

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                      #11
                      Replace? Why replace? Just put the small chimera on the Arri and remove the fresnel lens, put it in a safe place and then if/when you don't want the chimera on, just put the fresnel back.
                      http://www.TheThrillMill.com

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                        #12
                        Hehe...good point, Noah.

                        But actually, what I meant was that I have been renting an Arri kit, and I want a flo light that would give me the same sort of power that I got out of a 650w with a Chimera.

                        Diva 2/400? 4x4? Flolight.com?
                        Mike McNeese
                        Director of Photography

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