Posts Tagged ‘@LCALightsCamera


Cineo Quantum C80

Cineo Quantum C80

So as we all know if you can find the end of a rainbow then you should find a pot of gold but have any of you ever wondered what’s at the start of the rainbow? I think I may have the answer (well for modern rainbows anyway).


It’s got to be the all-new Cineo Quantum C80 Led light panel. Cineo describe it as “the ultimate creative lighting tool” and who am I to argue. From the outside it looks like a large version of the HS units by Cineo with the normal black and red styling. It’s manufactured using lashings of extruded aluminum that make it robust enough for our industry (just like its predecessors have proven to be) yet keeps its weight down to under 23 Kg. This is impressive when you consider its size (60 x 120 cm / 24 x 48”).



Delivering an impressive 50,000 Lumens of “beautiful, easily controllable, full-gamut light” the C80 packs a powerful punch of 800 watts at maximum power but it’s the controllability that makes it really shine.


Four independent knobs on the rear of the unit give you complete control over all the C80’s features, let me take you through them one knob at a time.


Master. This one controls the dimming, 0-100 % as you would expect but set to correlate exactly to camera stops so 50% would be one less stop and so on, that’s a very nice feature in my mind.


White. This knob allows for accurate CCT adjustment as on many of Cineo’s other panels and allows for fast, precise setting of any desired colour temperature.


Colour. (And here is where the rainbow reference came from) This allows you to add saturated colour to the output with control over the hue being displayed on the control panel.


c80 control.jpg

Blend. (Nope nothing to do with coffee sorry) Controls how much saturated colour is added to the white light, adjustable anywhere from full colour to full white.


If knobs aren’t your thing then all the above can be controlled using DMX cables or even wireless DMX with the built-in Lumen Radio feature.


With the C80 the same colour shading can be achieved regardless of CCT. Hence plus 2 Green added to 3200k CCT will look the same as plus 2 Green added to 5600K CCT, provided that the camera is correctly white balanced. (We could call this Cineo’s law and physics students will have to learn it for years to come, bless them)


Now for the technical bit, Cineo have developed Phosphor-converted saturated colour LED’s that work with the same phosphor recipes as their white LED’s. This means that they combine well to produce a natural looking spectrum featuring cineos deep-red colour rendering (that’s as red as a pom on Bondi beach). Furthermore as all the LED’s use the exact same colour dye so they all carry the exact same thermal stability.  I think this means that everything gets old at the same time hence the light remains accurate throughout its life.


Oh completely flicker free, and silent operation also feature as we have come to expect from Cineo.


A solid 10 / 10 for my Brucie coolness rating I think this time!! I’m a fan of Cineo products and they have delivered another great addition to the range hence Pixipixel are getting them in.


The one slight downside is we don’t actually have them yet, but they are on order so watch this space.

However if you would like to take a look, why not join us for our free lighting workshop on the 16th of this month at Rida East Studios. The QC80 will be making an appearance along with cinematographer extraordinaire Adam Suschitzky BSC give us a call to reserve a space.

led worsk shop.jpg


Something a little different again -Chroma-keying



Chroma-Keying is the technical term for what most of us refer to as Green Screen shooting and for some of you that is probably the only thing I can teach you on the subject, however for the rest of the world here is my take on this popular and great fun technique.

Firstly the term “green screen” is confusing as the process of Chroma-keying can be done with various colours other than green, but more on this later.

So before I get too into it, let’s just have a quick think about what the process of Chroma-keying actually is and why we use it so often. The Chroma-keying process basically allows you as an image or filmmaker to remove a specific chosen colour in the image and replace it with another colour or background. Probably the most often seen use of this is the weather person and his or her map at the end of the news. Chroma-keying has allowed the weather forecast to be a far more immersive and polished presentation but I must admit to missing the likes of Michael Fish struggling with magnetic cloud and rain icons, obviously this keying technique is not limited to the daily precipitation forecast and is in fact used far more often than you might expect.



       BBC prior to chroma keying, lots has changed except the weather it seems


It may be obvious when you see a flying superhero at the movies that some trickery has taken place and this would often be done using chroma-keying but how often do we see a car scene with dialogue in a TV show? Well take it from me a very high percentage of those car scenes will have been shot against a green screen. This is down to the sound created by a moving car, even one on a trailer, this sound can interfere or drown out the actors lines causing the need for separately recording the dialogue and syncing it back to the film later with all the expense incurred. By filming in a stationary car in a nice quiet film studio and then chroma-keying in the background a lot of time and expense can be saved.


Right, I think we all know what chroma-keying is now so how do we do it? Well firstly get yourself a good digital operator as I wont be going through the computer side of things on this occasion. I’m going to concentrate on backgrounds and lighting for chroma-keying as that’s what we hire out. Having said that you can get the digital operator from us along with all the computer hardware and software required oh and the camera too….. needless to say.


To set up a Chroma-keying shot you first need to set up a background in whatever colour you are choosing to use, be it chroma green, chroma blue or something else. This can be as simple as hanging the appropriate colour background paper roll up or slopping some paint onto a cyc (someone else’s cyc preferably). But take care at this stage, ensure that the background has no nasty marks or scuffs, no wrinkles or creases and so on. Any imperfections in the background can have a negative effect on the keying process.


Background options are numerous ranging from that pot of paint to colorama paper rolls or fabrics, we carry various size fabrics from 6 x 6 ft up to 20 x 20 ft in chroma green and up to 12 x 12 ft in chroma blue. Appropriate goal post systems, frames and stands are here in abundance too so hanging the background is no problem at all.


One word of warning in regards to using a painted background and that is to be mindful of reflections, a painted surface is far more prone to this than a paper or fabric backdrop. In fact to make your life easier one of our fabric backdrops made from Rosco Digital Cloth is the ideal solution, it gives no bounce back and the perfect key when lit with green.


The next stage would be to light this background and the thing to look out for here is to light it evenly with no hot spots, shadows or fall off. You are looking to light the background about 1-2 stops less than your subject will be. Keep it soft and try not to blast the hell out of it as you may end up reflecting the background colour onto the rear of your subject causing fringing around the edges (not what you are after)


In practice the easiest way to get a consistent light across your green screen is to light it from both the left and right hand sides using matching lights, this way the lights will overlap each other creating a uniform brightness across the entire backdrop.


Again we have lots of options for lighting the background and many of you will have your own preferences but a couple of good options include Kino Flow lights with 2 x 4ft 4 bank units sufficient to light a 12 x 12 ft screen or for larger arrears our 8 x 4 light flo units are great. However if you want to really spoil yourself then try our very sexy new Cineo HS mk2 led panels (just back from some Wonder Woman chroma keying). All of these lights can all be provided in chroma green output specifically for green screens or in daylight or tungsten for lighting other colour backgrounds. If none of these tickle your fancy give us a call and we can work through your requirements with numerous other lighting options available.



Kino 4ft 4 bank


Light flo 4 x 8






cineo hs2

Next light your subject, but just have a think at this point as you need to emulate the lighting required in the finished shot, so don’t do a 3 point daylight set up if the end result is someone driving a car at night and so on. Remember direction, quality, colour and power of light here and try to pre-visualize the finished shot.


Where possible and appropriate some kind of hair or rear light is great to separate your subject from the background. Positioning your subject at a distance to the background will help with this separation and also reduce the possibility of shadows on the background cast by the subject. If you have to have the subject close to the background you can try to light from a higher angle thus putting those shadows onto the floor and hopefully out of shot but this will only work if the end result calls for the light coming from that same high angle (getting the idea?)


As far as what lights to use for your subject its really down to the “look” you are after but whatever that is we have what you need to achieve it so just touch base and we can recommend some options.


This one may be obvious but I had better mention it, your subject needs to be a different colour to the background, so don’t shoot a Smurf against chroma blue or a bottle of Grolsch against chroma green ok.



Why not to shoot a Smurf against a Blue Screen?

Whilst shooting be mindful of reflections from the background in jewelry, watches and glasses etc these can spoil your day if you fail to notice them so take care.

Also consider shooting with a large aperture if possible as this will throw the background out of focus and that helps keep it a uniform colour and brightness whilst hiding any imperfections thus aiding with the keying process.


Now just before I go and let you all get on with some serious keying, I did mention using different colours to chroma green earlier and said I would expand on that. The go to colour for chroma keying is green but blue, yellow or red can be used instead, care must be taken with red and yellow as these can cause issues with skin tones. Chroma blue works extremely well but lots of people like to wear blue so this can cause you grief too. Back in the days of Mary Poppins and Ray Harryhausen, subjects were shot against WHITE but sodium vapor lights were used due to them having a narrow colour spectrum, this was part of a photochemical process and won an Academy Award back in 1965 so we aren’t doing anything new really are we, they used to call it yellow screen shooting.


Not bad keying for 1964 eh? I am particularly impressed with the shadow!! No wonder they won a Oscar!!!


The most convincing reason for using a “GREEN” green screen that I know of is to do with resolution, many cameras use a CMOS sensor topped with a bayer filter and this contains twice as many green sites as it does red or blue ones thus a 4k single chip camera recording at say 4:2:0 would record green at 2k and red and blue at 1k. So green is popular due to it capturing the highest resolution. Back in the film days blue was the go to colour for the same reason, as the blue layer in film stock had the finest grain. Remember with keying it’s the edge detail that makes or breaks the effect so the better resolution the better and more convincing the end result will be.



Green screens also require less light than the blue ones to illuminate and this can be a bonus but on some occasions however the use of a blue screen may still be preferable, for example if the end result is a night time scene then any excess green will stand out against the blue hue that these scenes often have but any excess blue light will blend in nicely.


Ok, so I hope to see some amazing stuff from you all, why not let us know if you do anything fun or exciting as we are always on the look-out for something cool to blog about.


Cheers folks and happy shooting







KOTW – Lightflo 8 x 4

KOTW             Lightflo 8 x 4



I’ve always liked tubes!

Not tubes as in “The Underground” I wouldn’t say I liked them, even if they are useful, I’m talking about tubes as in “Tubes of Smarties or Tubes of Jelly Tots”.

I’ve always been a frustrated inventor / model maker and for me a tube can end up having many uses. As a kid they made fantastic turrets or rockets and occasionally both at once, well why shouldn’t a castle blast off!


Unfortunately this “obsession” has followed me into adulthood and I still find a good tube hard to throw away, the trouble is that my other half has very similar likes so we have been known to suffer from tube induced disputes from time to time, it’s quite unreasonable  to want to store paint brushes in a perfectly good telescope if you ask me!


Now with my tubular penchant in mind todays KOTW is right up my street, I am going to pop some Mike Oldfield onto Sonos to get me into the mood.



Right so on with the kit in question. Today we are looking at the Lightflo 8×4 soft light.


So no prizes for guessing that’s it’s a softlight, that’s just too easy. What we have here is a Softlight flood containing eight fluorescent tubes. Can anyone guess how long the tubes are? Oh go on have a go!


Who said 4ft…….Wrong LOL they are 3.93701ft long or 1200mm. Yes I know that’s as near as damn it is to swearing but I’m in that kind of mood today.


While I’m talking about the tubes (and this thing has more than the london underground)

They are all T5 Shatterproof ones, but please don’t take that as a challenge…………..

The Lightflo is split down the middle, effectively giving you two lights each with four tubes, cleverly the bottom half of the fixture can be pivoted allowing for some control of the spread of light.

Panel-600x600 copy.jpg

On the rear of the unit are controls to allow you to turn on and off and dim each set of four but the really clever bit is when you set this up using DMX to control it. The DMX will give you full control over each of the eight tubes turning them on and off and dimming individual tubes with ease.


This DMX control allows for some fun and games. Firstly by individually switching each tube you get eight stepped levels of illumination, but wait, how about putting different coloured tubes into the top and bottom bank for split colour illumination. Or even putting the tubes in alternately as this allows for control over the colour temperature of its output by tailoring the brightness level of each individual tube.



By installing blue or green tubes the Lightflo becomes the prefect light for Blue/green screen work and this is where it generally earns its keep.

Finally it is possible to install eight different coloured tubes for some serious disco fever!

The Lightflo is stackable too and can be used vertically as well as horizontally and is often grouped together to create a larger light source.

As far as output is concerned the Lightflo will kick out 30KLM for less than 500w of input power.

Now if you already know please don’t laugh at me, but I thought KLM was a Dutch airline Koninklijke Luchtvaart Maatschappij (no wonder they use the acronym) but no it stands for Kilolumen so 30 KLM = 30,000 lumen. Bearing that in mind anyone fancy a guess at what KCD may stand for?

Ok so how about a BCR for the Lightflo, I think I’m going to give it a 7 / 10 as its an impressive unit, but I would like to see full control on the back not only via DMX. However having said that we hire out DMX stuff so perhaps bearing that in mind and why I am sat here I could up it a bit.


So as a Queenslander (banana bender) would say “she’s beaut* mate totally tubular dude” but to them EVERYTHING is tubular it’s because the sun has sent them all troppo* if you ask me.

Cheers everyone BB

Oh KCD = Kilocandela referring to candle power, may be of use if you play Scrabble.

lightflo dimensions.jpg

*Beaut. 1. Aussie abbreviation for something or someone who is beautiful.

*’Going Troppo‘ is an exclusively Australian slang term for ‘going crazy’.


KOTW- Cineo Matchstix

Cineo Matchstix


So I’m starting to feel a bit like a Cineo salesman here with this being my third blog regarding them (must be about time they sent me a t-shirt, XL please).

However I don’t mind blogging about Cineo products, as I must admit to being a fan.

Now I’ve covered the Cineo HS2 recently and the great little matchbox a few weeks ago but to complete my remote phosphor hat trick I had better wax lyrical about the innovative matchstix range.


So my one disappointment with the matchstix is that they don’t fit into an actual matchbox but let’s forget about that because they will fit almost anywhere else you like.

Available in three lengths of 3, 6 and 12 inches these lights are designed to go where other lights wont go. They can be tucked away out of sight even “in shot” and provide an amazing amount of light for their size. I recently hired one out to create the illusion that a laptop was lighting a subject and the customer simply sat it on the laptop keyboard and used the screen to “hide” it from the camera, the end result was just what my customer was after and it was so simply achieved that all concerned were impressed.

So simply speaking the Matchstix are very similar to the Matchbox and HS2 fixtures from Cineo, they all use the “magical” remote phosphor technology where the front plastic screen imparts the colour temperature from the blue LEDs inside. I’m still a little confused as to exactly how this works but take my word for it because it works very well indeed.

As with all the other products in this range the Matchstix are beautifully made featuring a rugged aluminum housing and robust electronics they are plenty tough enough even for the hire industry.

Just incase you have missed my other blogs here is a quick recap of the main features offered buy Cineo in this range of lights.

All lights feature Remote phosphor technology (RPT) giving a consistent and accurate output at whatever colour temperature is selected. (The colour temperature is changed by swapping the front plastic screen)

Totally flicker free and silent operation.

Local and DMX dimming options with no colour shift at all.

More power options than the national grid, Everything from 11.5 – 16 Volts DC using standard co-ax connectors.

Light weight and compact.

160-degree light spread with impressive power.

The power that is produced by these diminutive lights is truly impressive, there seem to “punch above their weight” if you catch my drift. LUX figures at 1m are as follows.

12inch 215 lx,

6inch 100 lx

and 3inch 49 lx

The Matchstix come with a cold shoe connecter on the rear to allow for limitless mounting possibilities or even for on-camera use as a very useful soft light.

We hire our Matchstix out as a “gaffer Kit” containing two of each 2” 3” and 6” length units and front screens for them all in 3200, 4300 and 6400 Degrees Kelvin along with dimmers and leads and so on.

BCR of 10 / 10 as with just about everything we get from Cineo these are a great addition to the range and are really useful for many applications from car interiors to on camera soft lighting and table top work.

So lets see what you can think of doing with them shall we, get your thinking caps on and let me know, I’ll do an extra special deal for the most creative / unusual idea just drop me a line here and try to surprise me.

Cheers folks for reading and extra cheers to Cineo for the T-shirt! :0))


Input voltage: 11.5 – 16 VDC
Power consumption: 12” – 17 watts, 6” – 8 watts, 3” – 4 watts
Lamp head dimensions: 1.3”W x 1.3”D x 12”, 6” or 3”L (35mm x 35mm x 305mm, 152mm or 76mm))
Lamp head weight: 12” – 16 oz (454g), 6” – 8 oz (227g), 3” – 4 oz (114g) 35,000 hr. L70 rated
Environmental temperature range: -20° – +50° C
Max. temperature rise: +30° C
2-year parts and labour warranty
ETL and cETL pending, CE Compliant Zero UV light emitted
Made in USA

Pixipixel Ltd

Office: 020 7739 3626
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