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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

***LIGHTS GROUP BUY 35% OFF NO TAXES to you***

Stacey Spears said:
This is the kit I have been looking at, though I thought it was one 150w, one 300w, one 650w and one-1k. I would much rather go the LED route if I can.

I assume the Brute would be the fill light in my scenario with the PARs being the key and hair.

Would a light stand like this http://www.filmtools.com/arlist.html work for the Brute and PAR?
Click to expand...

Stacey, Arri has several variations in Kits, so it can be either the case, that's why I just mentined an example.

If we are on budget, I guess we can this as well
http://www.briteklighting.com/307cost.html
 
KETCH ROSSI said:
visakk, the LED-Z BRUTE 9 is compared to the HMI 200 as far as output, this is for each unit so the double unit equals the HMI 400, when compared to Tungsten multiply that by 2.

The LED's are not switchable and there is absolutely no loss of quality for about 60,000 hours.
Click to expand...

That's very great to hear this, of course we never demand HMI quality output when used outdoor. But using cool LEDs inside at par with HMI quality is a very pleasing for eyes.
 
visakk,

unfortunately it is not so even with the LED-z Brute 9 as they are very strong, not the kind of led's that you can look at it anyway, but for sure easy on the talent and the make up artists.

To point strait at the talent's eyes you will need to put gels or filters so to soften the output.

Ciao,

KETCH ROSSI
 
1) If it doesn't have Barndoors, is there a different provision to attach gels.?
2)When dimming, is the intensity reduced without any loss in color temp?
3)Can we attach any kind of Chinema/softbox?

Thanks in advance for the clarifications
Siva
 
The LED have a slat on the under and upper inner edges, and you can apply filters and gels via a rectangular filter holder or like we did at LART just put those c47 to good use.

The dimmer DMX system is coming in the weeks to come and it is a separate unit.

The color temperature does not change you just get less light, just like when you are going from spot to flood on any HMI or Tungsten fixture, the temperature does not change is just the the light covers a wider area and becomes less bright.

You can attache any softbox to it as you can creatively do so, I know that for my photo shoots for girls wearing little to no clothing it is imperative to hit them with soft light, so I tend to get very creative.

Ciao,

KETCH ROSSI
 
The heatsinks on the Brute9s provide an excellent clip point.

They were quite impressive. Especially with a bit of diffussion. I was pleasantly suprised by their quality and provide a very nice flat square of light.

Only draw back would be the same as Jeff mentioned earlier... stepped shadows without diffusion. Also power switches would be lovely as even with 5 or 6 brutes you have a lot of cables to unplug.

These are perfect for the indie who doesn't have the budget to buy an HMI or rent the necessary generators to keep them powered.
 
Stacey Spears said:
This is the kit I have been looking at, though I thought it was one 150w, one 300w, one 650w and one-1k. I would much rather go the LED route if I can.

I assume the Brute would be the fill light in my scenario with the PARs being the key and hair.

Would a light stand like this http://www.filmtools.com/arlist.html work for the Brute and PAR?

Ketch, thank you for setting this up.
Click to expand...

So a versatile, light weight but powerful kit for interviews etc would be one LEDz brute, and three Mini Pars???
And filters, stands and dimmers and sort out an appropriate travel bag???

Does this sound like a logical, quality kit or will an Arri Softbank kit be a better option?
 
Okay,

the multiple shadow effect of the Brute 9 is stronger when closer to the subjects, as the fixture is moved away from the subject the multiple shadow effect becomes less and less evident, diffusers, gels, softboxes etc. can and will be used by many in different situations.

The perfect setup of extremely portable lights and very energy efficent, will be going with all LED-z but for some uses is just not possible (yet).

nalu if you prefer to go all LED-z then my suggestion on a interview set up would be:

2 Brutes 9, one above the other in a quad configuration (square) for the Key, 1 Brute 9 for Fill and one MiniPar for Hair.

This will consume 171 watts of electricity.

Again you can control the light quality just as you would with any Tungstens or HMI's, using the same gels, filters etc.

The light stands are just fine for both the Minipars and the Brutes 9, but you will need to have different sizes, as depending how high you need the lights.


Again I sujjest strongly to consider the Filmgear lights before the ARRR's as they are better built and in this group buy will be also cheaper.

Ciao,

KETCH ROSSI
 
This is a great thing you do for all Red Heads everywhere Ketch, in the true spirit of REDism
 
2 Brutes 9, one above the other in a quad configuration (square) for the Key
Click to expand...

The quad configuration on their website consists of 4 Brute 9s. Did you mean 2 or 4?

Would you recommend the 3200 or 5500 since they are not switchable? I have seen a lot of back and fourth on which would be the best for the RED. I was thinking 5500 and using gel if I wanted something closer to 3200.

It is also hard to ge a feel for the size. It one unit really less than the width of a dollar bill? They look big in the image, but the measurements seem so small.

Is it possible to demo in December? I will be in California from 12/14-12/28 and could make my way to Burbank one day to see them in person.
 
Stacey Spears said:
I have seen a lot of back and fourth on which would be the best for the RED.
Click to expand...

Even I have the same confusion, determining which one to consider, 5500 seems to be good option for small indie package for indoor use, but on the other thread, David Mullen was mentioning that the trend is towards Tungsten for indoors, as they are easy to balance with the practicals,which are tungsten usually.Still thinking..
 
Shawn Nelson said:
CoolLights is going to have a 1200w Par kit with ballast, barndoors and lense kit for only $2899, I guess I'll have to get a price check to find out if they are competitive. I'm definitely getting a CoolLights, but to have a Filmgear/Cinemills one as well would be cool.
Click to expand...

Yeah, I'm going with their Flourescent (CL-455PMD Cool Lights Portable Dimming 4 x 55 watt Softlight) and the 575 HMI (CL-MF0575 Cool Lights HMI Fresnel) for now - we'll see how they go. 1200 par looks great, but as mentioned it will be a while till it's out.
 
The solution for lighting a set is never the same.

As the set configuration, subjects positions, Camera distance from filmed area, Day or Night, INT. EXT. and most importantly what kind of already available light is there that must be integrated.

When considering all the facts the only solution is to have a light kit to include HMIs, Tungstens, Fluorescents and Led fixtures (this last ones especially for power savings and portability as well as operational with 12v battery packs).

You can get away getting only HMIs or only Tungestns and not both, but then gels must be applied to make the Tungsten daylight and the HMI Tungsten, no biggy but again adjusting to the exact temperature becamose a matter of gels and some c47.

Personally I'm going with my primary source to be the LED-z, some fluorescents for the integration of esixting light and some strong HMis to be geld if needed to be Tungstens, I will not include Tungstens in my kit as they are power hungry and wanted to keep the gennys as small and as few as possible for logistic reasons, obviously this will cost me more, but at the end I will save on power and Diesel/Gasoline for the Gennys.

At last each individual will have His/Hers needs, economics and styles of lighting which will ultimately dictate what light fixtures to use, how much of it and most importantly how to play with it for each individual taste in final look output for each project.

Hope this makes sense, coming from the world of photography some times it helps some times it does not, but in general it does help a lot in the creativity process of lighting scenes and subjects.

Ciao,

KETCH ROSSI
www.KETCHFRAME.com

***Below the LED-Z on location used as bounce source (strong little ones).
 
Thank you Ketch.

Yes, I am extremely busy!!!

We are week's away from launching a full DMX/Dimmerble and manual control box for the LEDZ Brute9 units and are very excited about this.

We are also proud to annaounce the formation of our LEDZ Europe arm based out of the UK, serving Europe, Middle East and Africa. All LEDZ units work on 110-240v AC.

The filter frame for the Brute9 will also be available end of December '07.

The brute9 configurations are as follows:

Brute9 - single unit
Brute9 DUO - two units
Brute9 QUAD - four units


Thanks.

Malcolm Mills
 
The most important factor fascinating for me in LED-Z is that they operate on DC, I am travelling between India and US.
So Tugnsten/HMIs will give trouble with varied voltage and Two set of bulbs, (an additional cost). More over I end up blowing couple of bulbs here and there. If LED-Z can be as practical, they solve several of world traveller problems.
 
planetearth said:
Yeah, I'm going with their Flourescent (CL-455PMD Cool Lights Portable Dimming 4 x 55 watt Softlight) and the 575 HMI (CL-MF0575 Cool Lights HMI Fresnel) for now - we'll see how they go. 1200 par looks great, but as mentioned it will be a while till it's out.
Click to expand...

Thanks for your support. I can definitely relate to the issues RED faces so you'll never see me bitching on this site about a late camera. Seems like it always takes longer than you think because of dependencies and other things that pop up in availability of people and resources too. Most of the units on my site should be shipping by the 22nd as they are on the way to the USA right now.

The Par 1200 could be out sooner if I had the lens set ready which is all that's really lacking. The rest is ready to go. It has a safety UV shield lens on the front of it but the light output is like a raw spotlight. Too strong and needs the lenses to tame it down more. The ballast is great and very solid. Silent and flicker free and can also drive a 575w head like our 575w Pro version HMI fresnel. The 1200 is a very bright unit but the lenses that I can get for it now are simply too expensive so we're spending some time to make a new set. Otherwise, we believe the Arri 1200w Par lenses set should work if you have access to some to try. Would love to try this out or find a way to test it so we can be sure. We are shipping one par 1200 and ballast set to the states this time for a test with someone who has yet to be chosen.
 
Even so I have chosen Filmgear, as I consider this units better then Arri, and not just because I have 35% discout deal with them, but because I had the Arri's so I know by direct comparison.

Now I just got the 1200 HMI Par, it is a great light and superb built, nonetheless I can not say that I will not be open to check out your units, especially the Ballast.

But I'm very happy with Filmgear and I know that there are different markets for different people, and each one of us may like one unit or the other or both but choose the cheaper route or simply choose what they think is the best one.

Good lock with your products.

Ciao,

KETCH ROSSI
 
Led-z

Led-z

Hi Ketch,

Thanks for putting this together.

I'm quite interested in the LED-Z lights and am wondering if there is anywhere to see them out here on the East coast. I'm thinking about getting several, but I'd like to be able to test one first or see it in a showroom.

Also, it looks like 3 pars would give you about the same light as a Brute. Is that about right?

Any suggestions for where they might be seen/tested?

Walter
 
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