Kino Flo Lights

D

DDirector

Veteran
I have always used the Kino Flo 4Bank Lights for lighting on sets.

The Divas are just too weak.
But, I recently heard of the Kino Flo ParaBeam 210 & 410

They use slightly different bulbs, but are much brighter and have a longer light beam.
But, from what I heard, they are more of a studio light.

Same with the Kino Flo VistaBeam 300 & 600. Its a much bigger light and is much brighter

Are these lights worth considering over using the Kino Flo 4Bank series?
If they are much brighter and use the same electrical output, wouldn't it be best to get these?
Say if I were to be buying a set of Kinos, I'd want at least the ParaBeam, but because its more of a studio light, Im not sure what it would be like if its used constantly for film sets.
 
I'm not sure what you mean by "it's more of a studio light"? Lights don't know where they are being used. And Dive lights being too weak? Too weak for what? Remember each different style light has its place. Here's my suggestion take it or leave it... Since you lack experience with these lights, rather than ask complete strangers on a forum if you should buy light X over light Y, why not rent or demo the lights you are interested in rather than wasting your hard earned cash on lights that may not be what you really need.

All the Best!

Dave
 
On every set Ive been to whenever someone used Kinos, they were most likely the 4Bank Kinos.

Ive never seen ParaBeams nor VistaBeams ever used. When I looked at some pictures being used on a set, they were all studio based. So, im wondering how PRACTICAL it is to use it on set than in a studio environment. GEZ!
 
Each of the different Kino Flo lights have different uses whether on a set in a studio or on location.

A good starting point would be looking over the photometrics for each style of light.
 
I guess you could call them studio fixtures, but they'll work fine on location. They just take up a little bit more room and weigh a little bit more. Their higher output is because they have parabolic reflectors. Therefore, what you wind up with is a focused beam of soft light as opposed to something that's omnidirectional that you'd cut with the barn doors.

I don't think buying one of those is the way to go though. If you want something with the same idea, just get this - http://www.adorama.com/US 398955.html
Thousands of dollars less and still from a well respected manufacturer, just a little more heavy.
 
David W. Jones said:
Each of the different Kino Flo lights have different uses whether on a set in a studio or on location.

A good starting point would be looking over the photometrics for each style of light.
Click to expand...
I'm sorry, but what are you talking about?? I have looked into the photometrics. I know what I am doing or talking about. But that has nothing to do with what I'm asking.
 
Michael, The Diva & 4 Bank tend to be broader softer lights which when used in close wraps around the subject and then drops off rather quickly, with the Diva being the more portable of the two. The VistaBeam & ParaBeam both use parabolic reflectors which tend to focus the light so to speak, capable of outputting more of a dramatic light from a further distance before drop off & both are DMX controllable. The ParaBeam uses the exact same 55w tubes as the Diva, while the VistaBeam uses 96w tubes. The price of a single VistaBeam 600 for example is going to run you around $4400 + shipping, $300 for a set of daylight tubes, $300 for a set of studio tubes, and $830 for the case, which comes to around $5830 for a single light. While a ParaBeam 400 will run you around $2000 + shipping, $95 for a set of daylight tubes, $95 for a set of studio tubes, and $550 for the case, which comes to around $2740 for a single light. Maybe it's just me being an old guy, but I'd sure rent or demo the lights as I suggested eariler before I spent over $5K on a single light I had never used before. But hey, you're a cinematographer and all and have already looked over all the data, technical specs and photometrics of the lights, and know what you are doing and talking about.

Good Luck!

Dave
 
DDirector said:
I have looked into the photometrics. I know what I am doing or talking about.
Click to expand...

Look again. A Diva 400 has almost the exact same photometrics of a 4Bank, but in half the length.

4Banks are the lights most seen around sets, in no small part due to their lightweight components, & ability to be pulled apart, but there's no one solution, & I often prefer Divas, especially as a key.

The Parabeam, Vista, & Imara, all throw the light further if that's most important for your need, but various Kinos are regularly mixed together for different uses.
 
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Well then...

Anyways.

Some lights are definitely designed for more studio work. The Image 85 for example is most commonly used to light blue/green screens, as it provides a soft even light and can be controlled remotely from a dimmer board. You can use them on location, sure, but they're just difficult lights to work with because of the weight and awkwardness of the fixture. So if you consider the Image 85 a studio version, the on location answer to that light would be the flathead 80, much more lightweight and ballasts are off the fixture in the same style as the KinoFlo 4Bank.

As far as the parabeam goes, they're an interesting light. Really punchy as described before, they fill 4x4 frames very nicely, as opposed to the KinoFlo 4Banks, and they're low wattage and can be daylight. The other thing to remember as well is that they are one of the few kino units to be power factor corrected, so when using them with a generator you'll get the most output for the power consumed. I haven't used them that much because they're not very popular in San Francisco, but the first job I took in LA we used them everywhere and they were great. The real drawback to them is they're really difficult to rig. It's a heavy light, and while it's not as awkward as the image 80, I'd be wanting to put it on a stand with rollers if I could.

Vistabeams on the other hand, I honestly don't understand the use of those lights on location. I've heard of people using them in grids instead of spacelights if they need to balance to daylight inside a studio. Apparently you can stack a large amount of them similar to spacelights, and they're also dmx-able. With that being said they are humongous, heavy, and even more awkward than the Image 80's. On location I'd much rather use a larger HMI or tungsten unit instead, along with the appropriate diffusion, just a lot easier to deal with from an electrician and grips point of view. Maybe someone out there has a good use for it though, I'm interested if you do!

So, with all that I'd much rather have a variety of the lightweight Kino 4Bank and 2Bank units and some HMI's than having the parabeams. Of course you've gotta try em to see how they fit into your style of shooting, but thats just one guys opinion.
 
Gotcha, I could see the flatness of the unit coming into play pretty well in that situation. I'll keep that one in my back pocket for next time. Thanks.
 
You can use any light anywhere but for physics.
The only light that I would call a studio light may be a 10k cyc light. Though we used a few in a theater once, oh and raked a building at night, their was that music video and...

I like using image 80s in building where plug in is the only option, and HMIs are not in the budget. It is not that heavy, but I would not hang it on a scissor clip from a drop ceiling. 8 magical daylight bulbs through a 1/4 gird frame, it' s like heaven.

The Kino Flo ParaBeam is smaller than the image 80 but has a lot of punch. You need a nice 2k stand with wheels (if possible). Daylight tungston option, it sounds like a good light. Not as good as a tungsten instrument, but acceptable. A lot less power, heat, and 5500k.
 
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