Image 85 fixtures are usually rigged in rows on 7ft (2m) centers. For smaller screens, location systems such as the 4Bank and Diva-Lite fixtures are popular because of their in-studio/on-location versatility. Fixtures For larger screens, the Image 85 and 45 are the softest with the most even beam spread. For example, if the screen is 20ft (7m) high, the lights should be hung 8-10ft (3-3.5m) in front of the screen. Rigging When lighting blue or green screens, the rule of thumb is to place the fixtures in front at about half the distance of the screen height, with the fixture tilted down at a 45° angle. (Pictured left to right: 20 x 20’ (7m x 7m) visual effects green cyc and floor lighted from above with Kino Flo Image 45 fixtures with True Match® 3200K full spectrum tubes Image 45 and Image 85 DMX fixtures globed with 3200K lamps lighting blue screen virtual studio background, as well as dancers in the foreground.) The lamps along with Kino Flo’s soft cool fixtures with manual and DMX light control make Kino Flo a favorite choice among lighting professionals. For virtual studios, Kino Flo’s True Match® KF32 (3200K) lamps (488-K32-S) are used more often than any other lamps due to the proximity of the subject to the screen. The phosphor inside each lamp produces a desired color, measured in nanometers (nm) at the highest point in the energy level. It’s not as much about how much light is used to light a screen, but rather what produces the best saturation of reflected blue or green light.įor film or high end HD shooting, the best saturation of color is achieved by using Kino Flo’s specially formulated blue and green screen lamps: 420nm blue-spike lamps (488-K10-S) and 525nm green-spike lamps (488-K5-S). Evenness is easily achieved using Kino Flos because of the soft quality of the light and the wide beam spread. Whether you’re lighting a blue or green screen for film or a virtual studio, the screen needs to be lit evenly and with the best possible color saturation. (Pictured left to right: 80’ x 20’ vertical screen lit with Kino Flo 525nm green screen lamps, one of the many visual effects sets of Mission Impossible II which included over 100 Kino Flo Image 85 DMX fixtures 100’ x 75’ blue screen lit with two rows (top and bottom) of Image 85 DMX fixtures with Kino Flo 420nm blue screen lamps on the feature film Swordfish.)
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