Kino the Mole Has a New Friend

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Just rig the light with a stinger. No need for head cable, just another thing that can go bad. I use them to light white, green and blue cycloramas. They are soft and spread so beautifully. They put out very little heat. They can be a key light. Easy to hang and have individual control on every tube.

Kino the Mole Has a New Friend (Ebook) – Pelangi Books

Ballast is in the head as well. It had just come out and it was the best LED light in my lighting package. Perfect color temp without the weird green color that LED tends to give off. You can dial in whatever color you would like, as well as the intensity, on a remote. I could not stand up and adjust. Everything had to be in my hand and I dialed it in right to my eye. LED tends to be a very harsh looking light with those light emitting diodes just staring at you. The Celeb is the softest LED source.


Kino Flo tip: These lights need to warm up. Let them burn for at least ten minutes. They will get brighter as well as change their color temp. You want to base your decision on your camera once they heat up. The amazing thing about these beauties is that you can get all color temps. I love the mix of the cool green and the warm green tonality that they deliver.

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Very subtle, but I think it plays nicely. He wanted all the cold cyan tones of the blizzard to be offset with them walking into this warm, saturated world to escape the storm.

1: Daylight: The sun

For my whole career, I have tried not to use movie lights in my lighting package. I always try to use lights that were not necessarily made for what I ask them to do. I think forcing a light to do something that it is not necessarily made to do creates magic. They are an ellipsoidal light. They use blades and an iris to shape the area that it hits. These lights are huge in theater, but not always used when you are making movies.

Obviously, if you are doing a scene that has your characters on stage, then using those lights will help create the realism. But what about off the stage, on your set? I use these lights to bounce because I do not need a hundred flags to control the light. Starting my career as a Key Grip showed me the power of shaping and controlling light and how much time it takes to do it.

When you use theatrical lights, they already have the shaping built into the source itself.

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You use the power of the theater to shape your light. Use the blades to cut the light to just the bounce card itself. Imagine you need a bounce light to key light your scene. But you are in a very tight space and you do not have room to set an open face or fresnel light and then control it with flags. I am talking about just handling the spill that comes out of most open face lights like a Lanairo Red Head or a Blonde, as well as a 1k Mole Baby Baby. These lights have barn doors, but they do little to control the spill, especially if you are in tight quarters. The Source 4 Leko has multiple lens barrels that fit into its head. The Source 4 Leko with its built in blades will shape the light perfectly to whatever size your bounce happens to be, and it has a ton of punch. You can use a 56 degree, which is a very wide spread or a 19 degree, which is a more narrow spread. They go all the way down to a 5 degree barrel, which is what I used on The Rat Pack for some scenes where I needed a spotlight but did not want to pay for one.

Bats in the cinema

I lit Marilyn with a table lamp, along with a Source 4 with a 36 degree barrel into a bead board bounce card. I was also using the 5 Degree barrel on a Source 4, which turned it into a huge spotlight to illuminate JFK on stage. I have used the Source 4 Leko lights for beauty lighting in my lighting package. I also like to use these lights for hot overexposed down lights in clubs, bars and large events. They create a perfect circle of light on the floor that you can use as a design element in your lighting plan.

The other thing about these lights is that you can focus them to be sharp patterns or de-focus them. See, I cannot give you just my gear list without telling you the reason for each choice. Please remember this while you surf other sites that just talk about gear. It is important to understand the thought process because that is where real learning occurs.

This new edition has been transferred from the camera negative and features both the minute English and minute Italian versions. David Hemmings stars as a musician who witnesses the murder of a psychic and joins a reporter Daria Nicolodi to investigate. Tell us what you think. Please upgrade your browser. See next articles. Newsletter Sign Up Continue reading the main story Please verify you're not a robot by clicking the box. Invalid email address. Please re-enter.

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Kino the Mole Has a New Friend Kino the Mole Has a New Friend
Kino the Mole Has a New Friend Kino the Mole Has a New Friend
Kino the Mole Has a New Friend Kino the Mole Has a New Friend
Kino the Mole Has a New Friend Kino the Mole Has a New Friend
Kino the Mole Has a New Friend Kino the Mole Has a New Friend
Kino the Mole Has a New Friend Kino the Mole Has a New Friend

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