Are any of the CFL multilight kits usable?

G

GarrettU

Member
I do commercials and small scripted web videos for local businesses and at the studio I was with, we brought 2-3 Kino Flo Diva lights with us to shoots. I have now started my own business and do not have the funds for the Diva's to start out unless I rent. I also was not totally impressed by how the subject seemed to melt into the background using Kinos.

I was wondering if any of the Multi CFL soft box lights were of any use. Maybe I could mix a Fresnel with it to make the subject stand out.

Any reccomendations on kits? There is of course the no name ebay kit here: http://cgi.ebay.com/Video-Photo-Stu...450?pt=LH_DefaultDomain_0&hash=item483f9ee5da


Or I've seen on BH the kits by Impact

Or something like this: http://www.lensrentals.com/rent/video/lighting/continuous-lights/fluorescent-rps-4070-softbox-lights


I like the idea of having like 9 CFL lamps under one softbox with the ability to shut a few off, but are there currently any that don't flicker and have the correct CRI and Kelvin?

Am I better just putting out the money for a Flo type fixture?

What about something like this? http://www.skaeser.com/servlet/Detail?no=519
 
Alzo digital has a variety of different CFL lighting kits and flicker free high CRI photo grade lamps for them in daylight and tungsten color temps. Some are color matched to Kinos. Lots of light for modest bucks.

One of their big 85 watt lamps in a big china ball is pretty amazing.

http://www.alzodigital.com/index.html
 
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Interesting. I don't see any cfl softboxes on there, but the Flo light location kit for 1500 is pretty cool. A little out of my price range as of right now though
 
GarrettU said:
I do commercials and small scripted web videos for local businesses and at the studio I was with, we brought 2-3 Kino Flo Diva lights with us to shoots. I have now started my own business and do not have the funds for the Diva's to start out unless I rent. I also was not totally impressed by how the subject seemed to melt into the background using Kinos.

I was wondering if any of the Multi CFL soft box lights were of any use. Maybe I could mix a Fresnel with it to make the subject stand out.

Any reccomendations on kits? There is of course the no name ebay kit here: http://cgi.ebay.com/Video-Photo-Stu...450?pt=LH_DefaultDomain_0&hash=item483f9ee5da


Or I've seen on BH the kits by Impact

Or something like this: http://www.lensrentals.com/rent/video/lighting/continuous-lights/fluorescent-rps-4070-softbox-lights


I like the idea of having like 9 CFL lamps under one softbox with the ability to shut a few off, but are there currently any that don't flicker and have the correct CRI and Kelvin?

Am I better just putting out the money for a Flo type fixture?

What about something like this? http://www.skaeser.com/servlet/Detail?no=519
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I looked thru all the links provided. I am certain there must be a reason the Diva's et al, are so very good ( though I don't see why?). I can tell ya this I have these. I love them! I use the P*ss out of them, haul them all over hell and creation and they work.I'd love to have a light source big as my fist, puts out two thousand watts and cost a hundred bucks, but other than using the sun with a reflector, I haven't seen anything but lots of hyperbole. Watts are watts. All of this marketing hyperbole such as 1800 watts and you get four 45 watt bulbs is such crap. The page I posted a link to is no exception, it does the same thing, but so does B&H, because that what the Manufacturers send along for the marketing stuff. I use four of these softboxes. I use 85 watt bulbs. Often I only need two or three lights, and with 7 lamp heads and 85 watt bulbs, it's plenty of light. I will say Video is no different from stills, from which I come, a large light source placed as close as you can stand to the subject will give you a softer light. hope that helps~ tw
 
For my purposes, mainly as a hobby, a DIY CFL kit was enough and flicker-free. Total cost ~40$ to build and work well. It can handle up to 1200W of CFL lights and doesn't produce much heat.
I use it along with some work lights to create a blueish-yellowish contrast in the lighting to create a nice effect. Nothing professional, but it works. Here's the link to the kit I'm refering to.
 
Is it true about CRI that it is a rating made for film? So a 100 CRI bulb would be 3200 Tungsten match? What about flicker free and color spikes? I'd rather not have to stop down the light by using a gel to reduce a spike. Also, since the lights are taken to locations and not kept in a studio, they have to look professional, be easy to setup and take down, and give a matched color from unit to unit.

The link you sent me has every kit on it, but you said 7 lamp heads, so I'm assuming you're talking about the 7 socket 85 watt bulb 5100k heads. How does 5100 k translate to a look? Would it be better to get something matched to the sun or tungsten if I'm inside? I see a lot of 5500 and 5600 and 3200 but 5100 seems random. Does it matter now with accurate white balance?

Do you find that Octogon soft boxes perform better than square?

Did you look through this link: http://www.alzodigital.com/index.html ?

Can you see any differences?

Thank you!


tom_wise said:
I looked thru all the links provided. I am certain there must be a reason the Diva's et al, are so very good ( though I don't see why?). I can tell ya this I have these. I love them! I use the P*ss out of them, haul them all over hell and creation and they work.I'd love to have a light source big as my fist, puts out two thousand watts and cost a hundred bucks, but other than using the sun with a reflector, I haven't seen anything but lots of hyperbole. Watts are watts. All of this marketing hyperbole such as 1800 watts and you get four 45 watt bulbs is such crap. The page I posted a link to is no exception, it does the same thing, but so does B&H, because that what the Manufacturers send along for the marketing stuff. I use four of these softboxes. I use 85 watt bulbs. Often I only need two or three lights, and with 7 lamp heads and 85 watt bulbs, it's plenty of light. I will say Video is no different from stills, from which I come, a large light source placed as close as you can stand to the subject will give you a softer light. hope that helps~ tw
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Why in the world are chip charts so expensive? I was going to get one to calibrate the cam with the lights. but $500??
 
GarrettU said:
Why in the world are chip charts so expensive? I was going to get one to calibrate the cam with the lights. but $500??
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Because as with anything, accuracy and precision cost money. If you don't need it to be very accurate or precise, you can get away with something quite cheap. But if you need it to be RIGHT, and RIGHT EVERY TIME, then that costs real money. The great part is, you get to choose.
 
Is the Macbeth chart black and white balance only? Or does it have skin tones and primary colors and focus?


I was also thinking about getting something for color calibration like the pantone scanner. Anyone use that?

How are people testing lights to see if they give off spikes and things like that?
 
GarrettU said:
How are people testing lights to see if they give off spikes and things like that?
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I've never heard of anyone in the crew end of the business using a spectroradiometer or spectrophotometer for such measurements. They're too specialized and expensive. I think you're stuck relying on the manufacturer or major labs.
 
So, I got those http://www.videolighting.com/fluorescent-video-lights.html 7 85 watt CFL soft box lights...


Oh man. Stay away. First of all, the light is not full spectrum. I did a shoot with the kinos and the auto white balance in lightroom had zero trouble locking on to the kelvin rating of the bulbs. The cfl lights were all over the place. They are bright but unnatural. Also extremely difficult to setup. The Kino I can just lift off the stand, close the barn doors and throw in my car.

The CFLs I need to unscrew every bulb, pry off the softbox, then make 14 trips to the car.

The only use I can think of for these giant softbox lights is a product background.
 
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