HMI vs. Kino vs. Compact Flourscent for quality of light at DVinfo.net

Go Back   DV Info Net > The Tools of DV and HD Production > Photon Management

Photon Management
Shine an ever-loving light on you.


Reply
 
Thread Tools Search this Thread
Old September 20th, 2015, 05:43 PM   #1
New Boot
 
Join Date: Sep 2009
Location: San Diego, CA
Posts: 9
HMI vs. Kino vs. Compact Flourscent for quality of light

I'm trying to get the light quality of tungsten but with a daylight source. This is for an location interview situations where each subject will be in front of camera for about an hour so the heat from tungsten makes it a non-option. My key will be a large 6' softbox with eggcrate.

Can you guys school me as to what makes the best quality of daylight. I know gelling will get me there but I'm also looking to upgrade my gear to daylight balanced. LED's are nice, but I like the look of the others better.

I appreciate the vast experience of you folks and your willingness to share.

* after a bit more research, my question might need to say, " what 6' softbox will fit daylight source?" seems like the very large ones are only made for strobe kits photographers use.
__________________
Sony EX1R

Last edited by Kevin Miller; September 20th, 2015 at 07:15 PM.
Kevin Miller is offline   Reply With Quote
Old September 22nd, 2015, 01:38 PM   #2
Major Player
 
Join Date: Mar 2010
Location: Raleigh, NC, USA
Posts: 677
Re: HMI vs. Kino vs. Compact Flourscent for quality of light

Quote:
Originally Posted by Kevin Miller View Post
I'm trying to get the light quality of tungsten but with a daylight source.
Difficult to do. The problem is all the "conventional" attempts to approximate continuous spectrum all have at least some discontinuities, because they are all done with discharge style lights. That is, HMI, fluorescent, and LED. They can all work for you just fine. But none of them qualify as "daylight tungsten".

Probably the best quality of light for daylight level sources is fluorescent. Tubes with six and seven phosphors can reach a CRI in the mid-high 90s. Look at the Kino Flo True Match bulbs. When driven by the Kino Flo ballasts they deliver a very high quality of light.

One thing to note though is that for a lot of uses, a manual white balance under the lights you are using will make up for all kinds of ills from the light's spectra. That's because modern cameras white balance over a number of different axes. All of them do the orange-blue axis, all of them I've ever seen also handle the magenta-green axis. Some of these cameras go as high as 12 different axes.

I'm just saying that my 86 CRI Cool Lights CDM lights give me excellent skin tones after a manual white balance. I never use gels, and skin tones are so good that I seldom find any reason to color correct any of my interview footage.
Bruce Watson is offline   Reply With Quote
Old September 22nd, 2015, 01:47 PM   #3
Major Player
 
Join Date: Mar 2010
Location: Raleigh, NC, USA
Posts: 677
Re: HMI vs. Kino vs. Compact Flourscent for quality of light

Quote:
Originally Posted by Kevin Miller View Post
* after a bit more research, my question might need to say, " what 6' softbox will fit daylight source?" seems like the very large ones are only made for strobe kits photographers use.
Best bet might be a big diffusion frame like a
Westcott Scrim Jim
, lit from behind by an HMI-ish source, or several depending on how much light you need on the subject.
Bruce Watson is offline   Reply With Quote
Old September 22nd, 2015, 03:02 PM   #4
Inner Circle
 
Join Date: Sep 2003
Location: Portland, Oregon
Posts: 3,259
Re: HMI vs. Kino vs. Compact Flourscent for quality of light

They're big, but I really love using the Kino 4-banks. With a 4' tube that is pretty even out to the ends, I never have thought that I needed to add a 6' softbox. I typically use them horizontally, and carefully set the stand height to achieve the density I want under the subject's eyebrows.

Then there's the available tungsten, daylight, and *greenscreen* bulbs.

But they're not going to fit in your car, the case is almost 5' long.
__________________
30 years of pro media production. Vegas user since 1.0. Webcaster since 1997. Freelancer since 2000. College instructor since 2001.
Seth Bloombaum is offline   Reply With Quote
Old September 22nd, 2015, 07:10 PM   #5
New Boot
 
Join Date: Sep 2009
Location: San Diego, CA
Posts: 9
Re: HMI vs. Kino vs. Compact Flourscent for quality of light

Thanks guys. The reason for the large box is they want full length with a lot of background into tight crop. I'm leaning toward trying Cool Lights HMI through a large shoot through flat. Ditched the curly cue florescent. May play with the Kino panels and mix in a little hard light.
__________________
Sony EX1R
Kevin Miller is offline   Reply
Reply

DV Info Net refers all where-to-buy and where-to-rent questions exclusively to these trusted full line dealers and rental houses...

Professional Video
(800) 833-4801
Portland, OR

B&H Photo Video
(866) 521-7381
New York, NY

Z.G.C.
(973) 335-4460
Mountain Lakes, NJ

Abel Cine Tech
(888) 700-4416
N.Y. NY & L.A. CA

Precision Camera
(800) 677-1023
Austin, TX

DV Info Net also encourages you to support local businesses and buy from an authorized dealer in your neighborhood.
  You are here: DV Info Net > The Tools of DV and HD Production > Photon Management

Thread Tools Search this Thread
Search this Thread:

Advanced Search

 



Google
 

All times are GMT -6. The time now is 01:58 PM.


DV Info Net -- Real Names, Real People, Real Info!
1998-2017 The Digital Video Information Network