The new wave of large sensor cameras with their high ISO range and light sensitivity are changing the way cinematographers approach lighting. This means smaller lighting packages, smaller sources, less power consumption, and a smaller footprint.
Advances in one technology influence another and this is apparent with some of these new LED and Fluorescent lights. They’re smaller, produce less heat, draw less power, and are opening new creative possibilities for filmmakers.
Tegra 4Bank from Kino Flo
The new Tegra 4Bank from Kino Flo takes the features of the 4ft 4Bank and adds the onboard controls you would find on the Diva-Lite 401. This includes onboard dimming, onboard switching, and remote handheld dimming. It produces as much light as a 1,000 Watt tungsten soft light, using only one-tenth the amount of power.
High output, flicker-free, and dead quiet. It also has built-in barn doors with new hinges, a honeycomb louver, and a center mount system that is lightweight and useful for handheld shots, and rigging in tight locations. I love Kino Flo lights because they’re small, easy to rig and hide, and the onboard controls are perfect for dialing in your light.
Find full specifications and product information on KinoFlo.com.
PRIME LED from Lowel
LED lighting has been around for a while but recently has greatly improved for film production use. The Lowel Prime LED is a testament to that. With 70+ foot candles at nine feet, a 50-degree beam angle, and a high Color Rendering Index of 91+ it solves the issues of the past with LED lighting. It has both tungsten and daylight-balanced bulbs and is ideal for run and gun shooting without a large lighting crew and generators to support it.
These lights are where it is at in LED technology. Never loved the feel of LED in HD before using the Lowel PRIME. They always seemed magenta and not organic. Very excited about this product.
Full specifications and information can be found here on Lowel.com.
Croma from Litepanels
The Croma is a small camera-mounted LED lighting fixture that provides a soft light with variable color temperature output. It has a 9-watt draw and produced light comparable to a 40-90 watt fixture. It can be powered off of 6 AA batteries or can be used with a 2-pin to D-tap power cable and powered off of Anton Bauer batteries for extended periods of time.
These work great as handheld lights or stashing them in tight spaces where other lights can’t fit. These work great for a little extra kick or fill.
Full specifications and information can be found here on Litepanels.com.
Looking for mentorship in the film industry? Schedule a 1-on-1 meeting with Shane Hurlbut, ASC today! This is where you can get expert advice from an industry professional on your career or a particular project.
About Filmmakers Academy Cinematographer Mentor Shane Hurlbut, ASC
Director of photography Shane Hurlbut, ASC works at the forefront of cinema. He’s a storyteller, innovator, and discerning collaborator, who brings more than three decades of experience to his art. He is a member of the American Society of Cinematographers, the International Cinematographers Guild/Local 600, and The Academy of Motion Picture Arts and Sciences.
Hurlbut frequently joins forces with great directors: McG’s Netflix Rim of the World and The Babysitter, plus Warner Bros. We Are Marshall and Terminator: Salvation; Scott Waugh’s Need for Speed and Act of Valor; and Gabriele Muccino’s There Is No Place Like Home and Fathers and Daughters. His additional film credits include Semi-Pro; The Greatest Game Ever Played; Into the Blue; Mr 3000; Drumline; 11:14, which earned Hurlbut a DVDX nomination; and The Skulls. Notably, his television credits include the first season of AMC’s Into the Badlands.