Freider Hochheim continues the conversation about the direction and future of Kino Flo.
Lighting techniques and camera composition is the focus of this course tailored to open your mind in new ways....
When John Stockwell asked me to do a film set in the Bahamas about sunken treasure, greed, fun,...
21 months ago I never could have predicted the direction of my life. With the invention of the...
This week's post will focus on the subject of DSLR cinema and a fantastic resource known by the same...
After my blog post about lighting from your local hardware store, I wanted to take it one step further...
Lighting day exteriors is as much about choosing the right time as it is about your manipulation of...
It is so sad saying goodbye to Montreal. I love this amazing city. The crew was the...
On The Ticket, the lighting was a challenge because we used natural, available light and shaped it. I turned...
Mr. Hochheim career as a businessman and an inventor is absolutely inspiring. The way he tells the story of how kino Flow came into being, makes you jump out of the couch and work hard for your dreams. It is even more important than the lights itself. Thanks!
I agree with Henrique, it is an inspiring story. You always want to cheer for the small guy who makes it.
I would be interested in seeing if they can figure out the LED issues and make products utilizing them. I have a couple of cheep 500w equivalent LED panels and they do a OK job lighting for small areas, but I still don’t prefer them yet.
Thanks for producing this series. Its been great so far.
Excellent documentary. Very insightful with what has to go into the history of Kino, and with producing effective LED lights. I always thought felt that LED light panels were usable but not on point, but I know with Kino working on their designs we’ll see something that will be.
Technical question: What kind of glass was used to shoot this interview?
Thank you! I used Leica glass for this interview.
The images are so crisp and beautiful, I was thinking they were Zeisses.
Thanks, this was great.
Awesome job on this interview! would love some tech specs. fstop/white balance etc it looks so nice and crisp, same with the zeiss interview.
Hey Rob, sorry I don’t seem to have the tech specs anymore… I’ll hang on to them when I do the next interview! Thank you for watching.
Shane, considering in investing in a KinoFlo diva kit for interview work. What are your thoughts on the light quality?
I’ve read many cinematographers prefer the light quality of traditional tungsten lamps.
Would I be better off in getting something like an Arri fresnel? Looking for something portable as well and haven’t had much luck with LED’s in terms of reproducing skin tones.
James B, I like the quality of the Parabeam over the Diva, bigger source and more output to be able to diffuse. Don’t go there with the LED technology. You are absolutely right with the skin tones. The new LED from Kino Flo will change everything. No I feel the Kino’s are great for interviews.
ok sure LED’s are a different spectrum and change things around – BUT NOTHING THAT YOU CAN”T GRADE !
go back and read that again. the camera image is step one in producing a final movie, buts its not the only stage. stop thinking in 1970 film timing. we have amazing tools now in post – finishing & grading. if something is a bit off, spin the color wheel a bit and its fixed as fast as you read this.
get over it. just because its a little different doesn’t mean your entire world is now flipped upside down.
I was slow to use flo lights, now I use them on every shoot. I jus thought 2 cheap LED”s and they are great for fill lights, for kicking up skin tones and opening eye sockets so people look ok. I use them now for table top too.
different doesn’t mean bad, it just means different. if may mean you have to grade a little differently, like say Kodak vs Fuji vs ( now gone ) Agfa…. but I’m dating myself :)
Steve Oakley, thank you so much for your insight. LED lights are gag lights for me. I am not extremely happy with the spectrum or the quality. To each his own. Wow Agfa, you are going deep my friend.
Shane, your site is awesome, and the information you provide for DSLR filmmakers is even more awesome! It is because of you, that I have been motivated to make an entire season of a new 30 minute weekly teen web show Drama on the Canon 5D, and 7D. I plan on buying the entire Master Cinema Series rig for use on the show, as well as use on my other projects I will be using my DSLR’s for. I have a question, and forgive me if you’ve answered this somewhere before, but are you familiar with the company FloLight? I was wondering what the main difference between their line of Fluorescent light fixtures are, as opposed to Kino Flo’s. I’m not referring to their LED Lights, I’m solely talking about their Fluorescent fixtures. For a filmmaker on a budget (at the moment) I am trying to keep our budget as low as possible, and perhaps invest in Kino’s later on down the line for our larger budgeted projects. Would love to work with you someday. Hire me! ; ) Hoping to hear back from you! : )
J.S. Lawrence, Thank you so much for those very kind words. I feel that we have designed a system that works for the cinematographer. I have not used Flo lights, but suspect that any flo used properly will give you a wonderful quality of light. I use the fluorescents from Home Depot to light with.
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