kinoflo lighting handbook
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nd cover
The Little black book of lightingFor Film and Video
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Index to Kino Flo Lighting Handbook
Introduction to Lighting with Kino Flos . . . . . 2
Kino Flo Products . . . . . . . . . . . . . . . . . . . . 4
Lighting Interviews . . . . . . . . . . . . . . . . . . . . 6
Broadcast Studio Lighting . . . . . . . . . . . . . . . 10
Chromakey and Visual Effects Lighting . . . 16
Tabletop Lighting . . . . . . . . . . . . . . . . . . . . . 21
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Introduction to Lighting with Kino Flos
There are two kinds of light in this world: The hardkind and the soft kind. We like our light soft. And cool.
All soft light all the time. What’s not to like? Kinos areeasy on the eyes, flattering on the talent, low onpower needs, and high on versatility and portability.Lighting techniques for Kino Flos are pretty much likethey are for soft light from sunlight bounced off awhite card or tungsten light through a softbox . . .except ours comes with this “little black book of lighting” to help you out.
Kino Flo light fixtures offer a lightweight, low energy,cool alternative to conventional hot lights such asincandescent par lights. The goal usually is to light ascene for film or video that looks like what we see inthe real world. Light quality can be characterized byhow “hard” or “soft” the shadow is.
The light you get from one instrument may be hard,and cast dense shadows such you might see whendirect sunlight casts the shadow of a tree on theground. A softer shadow might be made by sunlightdiffused through some clouds. Fixture placement isthe first step to producing a softer style of lighting withKino Flos. Where you place the light is importantbecause the closer the Kino Flo is to the subject, thesofter the effect of the light. The same Kino Flomoved farther away from the subject will make theshadows sharper.
Lighting choices differ from job to job, and from scene
Lighting Tips
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to scene, but the fundamentals stay the samewhether you’re lighting a two-person interview in aboardroom or giant monkey on a Hollywood
soundstage. Following are three basics for lighting:
The main light source for a shot is calledthe key light. Bringing the Kino Flo in as close aspossible produces a diffused, even wrap of illumination. Hard lights, such as from a fresnel
source, will produce hard shadows. Either may bepreferable depending on the final look you want.
Filling in the shadow side of the key lightwith a smaller Kino Flo is common. When turned in avertical position, a Kino Flo fill will cast a slightly
harder beam than the key source, which often isdesirable.
Also known as a “hair light”, theseparation light keeps the subject from blending intothe background. Usually, it is positioned above and
behind the subject.
Key lighting
Fill lighting
Separation lighting
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Diva-Lite FixturesFor location and studio.Compact, dimming,switching Diva-Lites
used for EFP, especially for lighting interviews.
Kamio Ring Lights A camera-mountedlight, the dimming
Kamio runs on12VDC, for close upsand news fieldreporting.
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4Bank SystemsFor location and studio.4ft and 2ft 4Banks are versatile production units:key, fill, chromakey, andset practical lighting.
Foto-Flo SystemFor location and studio.The 4-tube softlight has aremovable ballast. It is
used for key, fill andchromakey. Prefered forfashion and portraitphotography.
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Image 85 DMX For studio lighting. Usedfor key, fill, chromakey
and bluescreen visualeffects lighting.
Image 45 DMX For studio lighting. Used
for key, fill, chromakey and bluescreen visualeffects lighting.
ParaBeams DMX For studio lighting. Bright,broad beam spread for TV broadcast sets, film/video
production stages. Alsoused on film, photo, videostages as key, fill sources.
True Match T12 LampsFull spectrum high outputdaylight and tungsten.Used in 4Banks, Foto-Flosand Image fixtures.
True Match CompactsFull spectrum high outputdaylight and tungsten.Used in Diva-Lite andParaBeam fixtures.
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Lighting InterviewsOn location and in the Studio
Professional video productions most often chooseKino Flo’s Diva-Lite and 4Bank fixtures for lightinginterview sets on location and in the studio. Why?Because these versatile, cool sources produce anaward-winning quality of soft light with very littlepower or set up time. Diva-Lite and 4Bank kits use
both daylight and tungsten quality lamps (CRI 95),and come with barn doors, focusing louvers, center mounts, flicker-free electronic ballasts, and other lightcontrol features.
Diva-Lites are compact, portable and have built-indimming/switching ballasts, which makes them idealfor location video shooting. A Diva-Lite 400 (four-lamp) delivers the same amount of light as a 1,000Watt incandescent softlight, using only two amps of
power. It is most often employed as a key light, aboutthree to eight feet from the subject. A kit includes thefixture plus a diffuser called a Flozier to further softenthe light. The smaller two-lamp Diva-Lite 200 is mostoften used as a fill source.
The 4Bank is a large four lamp fixture that delivers asofter, wider spread of light than the Diva-Lite.
Although longer than a Diva-Lite, it is more versatile.For example, the 4Bank ballast is separate from thefixture, making the fixture very lightweight and easy tohandle. It can even be taped to a ceiling. Its special
design allows lamps to operate outside the fixture for use in very tight locations. In addition, a new style of 4Bank, the Foto-Flo 400, has a ballast that can attachto the fixture like a Diva-Lite or be used remote fromthe fixture like a 4Bank ballast.
Diva-Lites vs 4Bank Systems
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W h i t e B o
u n c e C a r d
4ft 4Bank
Interior Interview B
i l l H o l
s h e
v n i k o
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300W Fresnel
Diva-Lite 400
Diva-Lite 400
Interior Interview
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B i l
l H o l
s h e v
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Diva-Lite 200
Diva-Lite 200
Diva-Lite 400
Portrait Style Lighting
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B i l l H
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e v n i k o
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Black Curtain
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Broadcast Studio Lighting
Lighting designers looking for alternatives toconventional hot lights often design TV news sets withKino Flo’s True Match® Studio Lighting. True Matchsystems combine award-winning fixture designs withKino Flo lamps tuned to the spectral sensitivity curvesof HD and digital studio cameras. No matter the size
of the studio, Kino Flos display rich, balanced color quality while cutting back power costs ten-fold.
Key lighting a four-person news desk, for example,takes between three to six Kino Flo fixturesdepending on the height at which the fixtures are
hung, and the distance from the subjects. For side fillsources, only two Kino Flos are needed. For separation lights behind the subjects, expect to usethree to six just like the number used for key lighting.The size and spacing of key, fill and separation lightswill vary from studio to studio depending on the set
design.
Smaller studios with eight feet to 12 feet overhead arebest lighted with Kino Flo ParaBeam and ParaZipfixtures, low profile designs that can light a subject 15feet away. ParaBeam and ParaZip 200s (fixturesusing just two lamps) are the best when lighting tightspaces with ceilings from eight to nine feet high.Often, you are only lighting one or two people at atime on a set this small.
For mid-size studios with ceilings at 10 feet to 14 feet,ParaBeam and ParaZip 400s, Image 45s and 85s cando the job very efficiently in various combinations askey, fill and separation lights.
Choosing Lights for the Studio
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Large area lighting for larger news sets or for lightingstudio audiences generally falls to the larger ParaBeams and VistaBeams (not shown in this
handbook).
All studios lighted with the Kino Flo True Matchsystem often combine Kino Flo softlights with small,energy efficient tungsten focused sources to add apleasing balance of color, depth and contrast to the
image. Lamp life is rated at more than 10,000 hours,resulting in lamp replacement savings compared totungsten lamps that last 300 hours. Energy savingsinclude reduced power consumption and lower air conditioning costs. For example, a ParaBeam 400produces the same amount of light as a 2,000 Watt
incandescent softlight using 1/10 less power andheat.
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Anchor Desk:
Image Fixtures
Image 45’s
Image 85’s650W
Fresnels
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