hi welcome to the Central Institute of Technology this video series is on technical production equipment for the certificate 3 in events today's video is focusing on the for now the final is the workhorse of the theater lighting system it's called a wash light because it provides us with an evenly spread beam of light a light beam which we can focus to be wider or more narrow and which has a softly focused edge the name comes from the inventor of this lens a French physicist named John Augustine for an owl the the lens has these concentric circles cut into it which diffuses the beam giving us a nice even spread of intensity and those softly focused edge that we get from a wash light most people will instantly recognize this accessory is called barn doors and they come along with wash lights including the fennel another accessory is the gel frame this gives us the ability to color the for an owl but we're stuck with that color throughout the whole show the gel frames slots into the front here just in front of the lens and that colors the beam whatever color we want in lighting for live events there are a few safety issues that we need to consider and control measures we can put in place to reduce the safety risk firstly when any equipment is suspended over people's heads we need to be careful to use only rated rigging equipment to ensure that everything is safe and nothing's going to fall out of the sky in addition we add these safety chains or just safeties which are a rated piece of chain-link or steel wire just basically clips onto the light itself and to the bar above so that even if the rigging does fail the light remains in the sky and doesn't come crashing down to the deck in addition incandescent lights like the fran l get very hot after they've been on for a little while so we need to be careful not to burn our hands when we're adjusting the lights to focus them to make them look the way we want we use gloves for the most part but there are a few adjustments on the Fran L which we can do which have plastic coatings so we can do those things without burning our hands we've got this locking nut here which allows us to tilt the front out you get the angle that we want on the back here we've got a handle which enables us to pan the Freneau again coated in plastic and we've got an adjustment here for zoom to adjust the beam angle in and out and again that allows us to do that without burning our hands once the light has started to heat up okay so let's fade this Fornell up and have a look at how that beam looks using Afrin l we can adjust the beam angle like so this particular model has this adjustable dial on the back there are a few different ways in which that part of the light works we can see it zooming in and out there after we've arrived at the beam angle we're looking for we then bring the barn doors in to trim off the edges to give us straight edges wherever we require them wash lights like four nails and some others are characterized by a very even brightness across the beam angle and also by a softly focused edge which means at the edge of the beam here we've got a gradual change from full brightness to nothing no sharp edges which we see in spotlights and which can draw attention to the light itself rather than focusing attention on the subject the person or piece of scenery we can take the lid off for an owl's to have a look at what's inside have a look at the lamp itself and how we achieve the zoom change the beam angle down here inside here we can see the incandescent bowl an incandescent bulb is one which creates light by heating up a very thin filament of wire the lamp base itself slides back and forward inside the casing which gives us the zoom ability when the lamp base is towards the rear of the lighting fixture that's going to give us the narrow beam as the lamp base slides towards the front of the lamp the beam angle will widen as we said before fern ELLs are the workhorse of the theater lighting system we use the fennel for standard and essential lighting effects such as the stage wash as well as to create nice subtle highlighting of performers and scenery elements thanks for watching

hey guys today we're going to unbox the Razer led for now this guy is massive this is a 300 day light they also have a 300 bicolor they have a 200 daylight and a 200 bicolor so this is the 300 full daylight this is a case that it comes with chips in here and there's not much inside of this case you get a set of barn doors here and a power cord goes right to the wall no brick attached and it plugs directly into this fernell here the 300-day light and then optionally you can get a softbox this is a softbox attachment and the 45 by 45 softbox here which will set up so we'll get this powered up and then we'll just kind of run through the features it's very basic but this light is very powerful they say that this 300 daylight one here is brighter than a 1k so it's about one and a half times brighter is what they're stating so let's take a look at that let me put this away it's just custom cut foam but a really nice bag that it comes with um for the 300-day light right here so we have the light setup over here the razor 7 300 daylight as you can see we've got some dimming controls over here on the side we have a mode in a set button on the back this is how we change our focus for spot and flood and then we have the power adapter in there's also a DC in for battery power and then there's some DMX controls here now if you want to do Wireless they do have a wireless module but it is either DMX or Wireless one or the other you can't have both in the light is from what I know now the 300 series daylight or bicolor that requires a battery that's going to be either 24 to 36 volt input which means you're not just going to throw on your standard D mount now if you go with something like the 200 razor 7 then those can run off of V mounts you can get a V mount adapter throw on a 14 volt battery and then you're good to go so this one won't work just off of a standard v-mount the 300 is just a too much power so let's drop the barn doors in it's pretty much like your standard for now barn doors go right over the top and then there's a lock here on the top you just pull it up and turn it and that prevents the barn doors from coming up and over and then you can obviously rotate the barn doors depending on where you want your flags this is a power cord right here fairly short so you're going to need an extension cord but there is no brick all of the controls are inside now this is a locking connector so the moment you put it in you have to rotate it and then it will lock in place to turn it on there's a power switch on the back here one side is DC power so if I hit it it's not going to turn on because I'm not using the DC input and then the opposite end is actually the power for the light running off of the walled AC now you have a mode in a set button here if we press the mode button we can change the fan from on high to low depending on your needs even if it's set on high it's not super audible there is some fan noise there not very much and then if we hit the set button we'll be able to change the percentage of the light faster so as we rotate we can get from 0% to a hundred percent very quickly but if we are out of that mode it's very granular it takes a long time to get to you know 100% it goes like eight point three eight point four eight point five so it does it very fine increments but if we hit the set button we can jump directly to something like you know 50 percent and then we can kind of fine tune it well you know granularly by getting out of that mode all right so right now we have the spot on about five feet away from that backdrop we're at a hundred percent and over here you can see that's kind of the scale of your focus your spot and flood right now our spot is at eighteen degrees and then if we rotate this here we can see a little indicator on the side of the light and then we know where we're flooding to so we're going to go all the way up to 55 degrees so from 18 to 55 degrees so you can kind of see how much it's actually able to to flood and that light that backdrop is about five feet away so again we'll close this down to about 18 degrees all right we're going to get the softbox set up throw it on here so what we'll need to do is open up the adapter this will replace the barn doors this little thing here just drop this in so the whole softbox comes in this bag here and we've got a little grid for it as well and create folds open just like that nice reflective material here this just has a little string now we pull over and tighten up over the frame we got two types of diffusing material here the smaller one goes on the inside the larger one goes on the outside and that's just for double diffusion if you don't need that you can leave the one on the inside off and just use the one on the outside so you can see how the diffusion material is set on the inside now we can put the exterior one on there you go our softbox is all set up we want to crank it up so this is with the softbox on you have double diffusion we're also down to an 18 degree spot so you notice how soft the light is being cast right now you don't have any defined edges and it throws it much wider even if we're at an 18 degree spot and here I've adjusted it to a 55 degree spot so it's going to throw a little bit wider and that's what we want with this softbox again we're using the double diffusion here we could take off the inside one and it'll throw a little bit more light right now we're going to throw on the grid the spot and you'll see how he kind of narrows that beam so that's the grid right here and we're just going to attach a via velcro on the inside as you can see we have the grid on here and it's going to make the light more directional with these grids it's not going to kind of feather out as much so the softbox is first going to diffuse the light but it's only going to keep keep it going in one direction and minimize the spill so let's see what that looks like all right so you notice that it is a softer light source but we have less spill but still not a very defined edge as if we were using a bare lens so that's kind of what the grid will do is if you're trying to throw some soft light on your talent but you don't want it to kind of go over onto your back drops or anything you could use the grid here again we're using double diffusion on the inside but if we took the inside one out we'd get a little bit more punch out of this light so right here I've got the barn doors back on I've just kind of narrowed the flags down so you can see how we could cut the light so we could prevent the light from kind of going everywhere we kind of focus on a little area here we could rotate these barn doors as well so really nice to have this light with the barn doors that are functioning you can't really do that with a lot of straight LED panels so one of the things I really like carrying with me all the time with lights is this fotodiox scrim right here this is a four by four it folds up very compact and it sets up very quickly with this kind of diffusion material here and let me show you how that set up you can either use this scrim here to kind of bounce light so if we were to shoot light there it would bounce back over we can also be on the other side of that screen where we could shoot through the light and we have a very large diffusion source by using a powerful light like this so let me take this fotodiox scrim off and show you how that breaks down so on the scrim right here they're just two buttons and press these two buttons in and squeeze this you'll notice how the frame breaks down just like this so if we wanted to set it back up you just pull the frame apart once we pull the frame apart we have the locks on the side make sure those are locked out so you just throw it on our stand and so it's very handy to have a scrim like that because again you can just kind of shoot the light into it have it bounce back over and that's good for like ambient lighting it's a little more natural than directing the light right at your talent you kind of bouncing it off something but again you can also shoot through it so that you have a larger source so that's a four by four and then make a little bit larger one as well alright so that's a look at the razor seven 300 daylight LED Fornell excited to take this guy out on some projects with some modifiers we can get some really you know big key lighting out of this thing so really excited to try it out but that's a quick look if you guys want more information I'm going to have a link below this video or on the blog cheesy cam back on

hey welcome to Gear Jones I'm Derek today I want to show you what I have here in this box this is from Kane TV this nice little box right here from KMTV and inside our three led fernell light so let's open it up look inside here we've got three nice KMTV Bolton 55 watt LED lights these are very small very lightweight they are battery-powered you can you can control them or power them with NPF style Sony style battery or inside the case along with the power supply and yokes our cables allow you to connect them to any P tap power source the construction of the light is very very nice it's made of a metal and plastic combination but it feels really sturdy in the hand and I don't think I'm going to have much problem with this there is a heat sink right here which gets a little warm when you're operating the light and there is a fan inside the light that helps to cool off the LED but it doesn't make much noise at all so it doesn't seem to be a problem for filming and the lights they get warm but certainly cool enough where you can turn them off and put them in your case right away there is a lens in here they call it a fernell lens to me it looks a little bit more like the bug island that you would find in a par light but you still have a fair amount of control the light source inside is a co B style single LED light source so there's not a bunch of multipoint so it's a very nice controllable light let's plug it in and get 1/5 of what this light can do its power and the power is really nice it's a lockable 3 pin power power cable goes right in locks nice and snug and on top you've got a power on/off switch and a dimmer switch it dimmed up all the way as you can see it's pretty bright there it is on the background shine it back there and like I said it's focusable so we can focus it down to a nice tight spot let's go wide again and the barn doors do a fairly good job of controlling the light it's not as good as the traditional for now but you can you know make a nice little slash and actually control the light pretty well the dimmer knob is labeled with 100% to 0% and then there's also an LED readout on the back that shows you your dimmer level and I've found that it goes from 100% down to what they call one percent feels more like 10% to me but it's still a pretty good indicator of where your dim level is and what's nice is put this on off switch you can set your dim level take a break and when you're done you come back turn the power back on you're right back at that same dim level the light does come in a tungsten version or with this you can add a tungsten gel to the light turn that guy off I've got one here that's already got the tungsten gel in it but I'll just show you you just screw off the barn doors inside this nice little disc tungsten color the color quality seems pretty good I put it on the color meter and there doesn't seem to be much of a green magenta shift and at 32 the tungsten is pretty close to 32 530 100 degrees and the daylight is about 5,500 degrees and you just plug in this one that's got the tungsten filter in it and so what I've noticed there is about a stop of light loss with the tungsten filter but it's still fairly bright you can do quite quite a lot with it the case they came t v-- sit the Bolton lights in is really nice it's a hard plastic Pelican style case and inside the case clearly there's room for three lights there are power cords and when you pull out this insert here underneath you've got all of the power supplies you've got the extra cables for connecting to DTaP batteries and you also have these nice yokes that connect directly to go to the light and so it's nice that they have all this in this nice compact case but the size of the case is also the downside once you put the yoke onto the light the lights no longer fit in the case one light alone is just too big for the case so I'm probably going to have to transfer all these lights to another case and find some new purpose for this case because it is a really nice case there are a few minor oddities like the 56k color temperature indicator considering it can't be any other color except for 56 K and this Wi-Fi port which doesn't seem to have any purposes display when I ordered the Bolton lights I figured I probably use them to replace my area 150s so let's see how the bolts in compared to the 150s what you're looking at right now is the area 150 I've got my light meter set to 400 iso 24 frames per second let's see what we're getting I'm getting about just under a five six about a four and eight tenths of a stop so let's see how the Bolton compares to that so the Bolton is add a light fixture but it comes with a tungsten CTO filter that I've got installed in the light and to match the area 150 tungsten light and let's see what we're getting out of that both lights are at full flood right now and I'm getting about a four and four and a half with that so it's a little bit less bright than the airy 150 but still very comparable so let's look at color temperature so we're still getting two bolts in with the tungsten filter installed and I put the color meter on it and I'm getting about thirty three hundred degrees Kelvin let's compare that to the area 152 my eye the area 150 is noticeably warmer let's put the color meter on it and it's about two thousand nine hundred and eighty degrees Kelvin so it is a bit warmer that could be the age of the ball those things happen but let's turn them both on and maybe the Bolton is a little bit cooler but they're pretty close I think you could use them both in the same lighting setup the bolts is considered for now light even though the lens looks different than typical for now but let's see how well we can shape the light using the barn doors so here we go I'm just going to try and create a nice splash and that's a pretty acceptable slash it's a little soft on the edges but that's not too bad let's see how that compares see let's do a little bit like the door splash like that let's see how I compares to the area 150 area 150 and I'll take the barn doors I create a slash with it and you can pretty clear that that area 150 can make a much sharper cut with the barn doors so that fernell lens is doing a much better job of giving us a nice sharp focus edge you get to a point of diminishing returns with the barn doors on the Bolton it's almost like it gets to a point where it just turns into a dimmer it's not really cutting it anymore but I still think I could get something done with that when you look at them side-by-side like this you can really see the difference between the true tungsten and daylight LED with the provided CTO filter there really is a lot to like about the Bolton 55 watt LED for now I like the size and construction of it I like the fact that you can power an off of an onboard battery or an external battery source using the P tap adapter I like the light quality in terms of intensity and the color quality I like that it's daylight I really like shooting with daylight and having a nice small daylight source is really nice and the only thing I don't like about it is the fernell lens or the lens which is not a true for now lens so you don't get the sharp cuts that you would get weather for now but other than that I really like this I think it's going to be a good replacement for my area 150 watt tungsten lights so I hope you liked this video if you did please give it a thumbs up and if you want see more videos like this be sure to subscribe thanks for watching care Jones

hey guys this is caleb with diesel our video shooter and today we're checking out several awesome led fresnel lights from came tv [Music] recently came tv reached out and asked if i'd be interested in checking out their fresnels now i know i'm late to the game when it comes to talking about these two lights which have been very popular the f30 and f55 but some of these other lights are much more new from came tv so of course i agreed because i'm a sucker for led lighting as you guys know so let's go through the lights and i want to start by kind of breaking down the different model numbers because it's somewhat confusing you'll see for each of these lights and the way they're named is a number and that is the wattage of the light and then you'll see a letter before that number that letter has to do with whether or not the light has a fan in it so if you see a b that means there's no fan and if you see an f that means there is a fan and then after the number there might be another letter and that letter has to do with whether or not it's daylight bi-color or tungsten no letter after the number means it's a daylight light and if it has an s that means it is a bi-color light and if it has a y that means it's a tungsten light tons of different lights that's a quick breakdown of what's going on with the different model numbers and all of these lights are fresnels which i love on these smaller lights it's really simple operation you just grab the actual light and pull or push on the larger lights things are a little different i'm going to spin this 150 watt over to the side and you can see there's a knob here that i can adjust the distance of the fresnel lens to the body this is a lot more fine-tuned you can see there now we're gonna take a look at each one real quickly and then we're gonna actually light with them and see what we can pull off with the various outputs so here i have the b30s and i'm going to go ahead and screw on the barn doors which i love that you can add and remove these depending on what you need and of course we can rotate them very easily as well i already have a battery in this one so i'm just going to flip it around there's a power button on the back this is the s version so it is a bi-color light there's full output pretty good and i'll go ahead and change the color temperature there you have it that is tungsten and of course we can mix kind of in between so this is a 30 watt light output is clean across the board which i really like on the back there's a nice little lcd display giving us information on our battery output and color temperature which is awesome i'm going to go back to daylight here and we're going to spot this up so you can see what that looks like distance wise i'm about eight feet from the backdrop so that gives you an idea of what you're looking at there cut ability if that's even a word how well these cut they're okay um they're not great though i've worked with lights that are much better but that is the b30s it comes in daylight or by color now let's look at the f55 here i've got the f55 boom that is full output right there in spot mode i'll go ahead and back it off to the widest that's really really bright great great light of course battery powered you can also do wi-fi with these which is really slick if you're into that here i have the b60s the bi-color model i'll turn it on here this has no fan so you're not going to worry about that there's full output make sure the barn doors are open full output at daylight and as i go through the range you really shouldn't notice much of a brightness drop and that's what i love about these lights there's tungsten really no drop which is amazing on these larger lights the focus ability is a little different so they're not as spotty as the smaller 30 and 55 so keep that in mind but you are able to cut a little better with the barn door as you can see i've got i'm just rotating the barn doors here and if i go all the way in for spot you're going to see that it's really not terribly spotty so just keep that in mind but these metal ones especially this bi-color model i have been loving but the color i just can't let me dip it down so you can kind of see a little better the color is just fantastic on these i love that i can get that right where i want it and it just looks really really good you can see the edges look really really clean looking closer on the back of the light we have our color knob and our dimmer knob an on off switch and a nice display and then there is a jack for a wi-fi adapter on this if you want to wirelessly control the lights okay now i've got the 100 watt the f-100 so this is a fan model and it is only daylight at least the one i have i'm going to loosen it up here really nice yolks on these two letting you really crank down and make sure you have the light nice and secure so that is max output very bright light and we're in spot mode again not as spotty as the smaller lights here's at the full wide or flood mode almost completely white background back there which is really handy and of course you can dim it down very nicely or just add a tiny bit of light really really flexible finally you'll note that it's almost exactly the same size as the 60 watt we just looked at so not bad at all when it comes to size our next light is definitely going to be a little bigger and here i have the 150 watt behemoth this is somewhat of a heavy light so keep that in mind but um i mean considering how quiet it is 150 watts i'll take it also another thing to consider is the size of this power supply um or transformer i put a little piece of paracord on it so i can hang it on the light stand and then we got this massive connector here i'll go ahead and connect that we're pretty much ready to go so i'll push the on off button and we'll go to max output which is right there and uh i'm not quite centered but there is spot mode a little spottier than the other lights that we looked at and i'll go to full flood once again nice ginormous uh set up there so awesome light again silent and the fan isn't even running right now because it's so big and nice and metal so it's using it as a heat sink the fan will kick on but you won't even be able to notice especially at this distance on the back we have our dimmer we have the giant power cable really nice display here and then this has a ton of dmx options we have our dmx push button knob and adjuster and then we have in and out so you can connect multiple lights together and connect them to controller and have a lot of fun with that so this guy is easily going to be able to give us a really really nice key light and that brings us to the next section of this video we're going to go ahead and set these up and do some lighting and use them together see which ones are going to work for a key and all that good stuff all right set up number one we're starting with the big boy the 150 watt i have it just out of frame over here sorry camera probably damaged it just then and um what it's doing right now is it's shooting into just a simple 501 reflector on the white side that's creating a really bright bounce light actually almost looks like it's a little too bright so i could come in here and drop it down a hair something like that obviously i need some work on this side of my face but for an interview type setup something like this would work fantastic for the background i just write out a frame on this side have the b30s so i could change it over to daylight or cool it down or warm it down rather plenty of output to do really anything with that so just those two lights you're done man you could light so many different setups and keep in mind i'm at a decently wide shot here i could do so much by zooming in a little bit and setup number two the 150 watt light is pushing through a soft box in octa box for my key you can actually see it in the frame there background same exact setup i can change the lights we're using the 30 watt off to the side for a kicker i'm using the 55 watt back there hitting me right here could be a little brighter maybe hard to tell from this distance so yet another setup looks great plenty of output with that 150 watt and exact same setting as before only difference we have the 100 watt in the soft box instead of the 150 watt obviously there is an exposure drop totally doable as a key light though especially if you zoomed in a little bit and brought this in and keep in mind i'm trying to keep my camera settings super duper low so you can obviously bring that up a little alright guys and now we have the 60 watt bi-color set up as a key i had to bring it in a little bit to help with you know it being a slightly weaker light compared to the other ones but the beauty with this as you can see we're set to 3200 what i'm going to do is hop on this app that'll control my camera and i'm going to set the camera to match at 3200 kelvin or roughly um tungsten so now we're set both of these lights i have over here the 30 watt pointed at the background at tungsten but what's cool is i can do stuff like this i can just flip it over to daylight and now we've got this nice warm cool thing going on i can kind of go in between lots of flexibility that's what's beautiful about bi-color lights you can match the environment that you're shooting in or kind of mix and match different temperatures and do lots of fun stuff and here we have the f55 at the same distance so as you can see i had to bring it in a little bit you can definitely use it as a key you'd have to zoom in and just keep it a little closer it's not going to be as soft obviously i need a fill but you know these little soft boxes are so easy to set up especially with these lights the whole thing is battery powered right now so it's good stuff all right guys it's time for some final thoughts after seeing the lights and running through things and i've been using them here in my studio here are what i think i want to talk about the fans and the heat dissipation and what makes these unique to other lights on the market they have great heat dissipation even the lights that have fans once i fired them up at full output it took them probably 20 25 minutes for the fan to actually start spinning and when it did start spinning it was silent so having a heavier light is actually a good thing for heat do note these do get a little warm the actual metal body um you're not going to burn your hands severely but they do get a little toasty you know that's that's nice and warm now so the other thing i love about these lights is you're not stuck with barn doors on the smaller lights these barn doors that come with it can actually um unscrew and you can put a bones mount which is optional on the front of lights but the same goes for these bigger guys these barn doors here can slide right out i'll go ahead and do that on this big guy here there's a little latch at the top that works really well and then the barn doors slide up and then came tv makes specific sized little bones adapters that will slide in in place of your barn doors another thing i love about these lights is there's no output loss on the bi-color options so this light right here is a 60 watt led light sorry about the squeak and at daylight it's 60 at tungsten it's also 60 and i measured it with a watt meter um you're not gonna get that dip like you will on a lot of uh bi-color light so the bi-color is a fantastic option if you want to keep great output there are some of my favorite lights now and i really really like to use them you can find links to them in the description let me know if you have any questions at all and of course you can watch fresh videos here dslr video shooter every single tuesday and thursday thank you for watching and i will see you in the next video

this is the KMTV bolts and 55 watt Fresnel style operation light now these are available either 3,200 or 5600 k versions there isn't a bicolor one available now this makes for an interesting low-cost alternative to say the old dado dh4 to the very popular light that was used in a lot of shooters kits and people are still using them today some of them are more than you know 10-15 years old and they're still going strong this is a lower-cost option there's a lot of companies now that are starting to make LED variants of these sort of style lights so let's have a look at the came TV version here and just go through what you get and what the light can actually do now let's have a look at the build quality of this life now it's made out of hard plastic and also metal in different parts now the way it's Fresnel operation Fresnel type of operation works is that it uses a push-pull mechanism here so if I want to focus the light up I pull it out if I want to flood it I move it back so this is sort of a little bit different to how a traditional a traditional Fresnel light would work you can see in here here is our here is our lens now it's just a plastic lens now this is actually removable so if I just pull this out here so I'll just take it out and here's your plastic lens and there you can see the the LED this is really deal them in here these are a little bit different from what you may see on say a traditional 1x1 panel this is just one LED light source it's like a non chip design so you want to get all those sort of bad patterning effects that you tend to get when you use multiple little LED sources so that's how it works so you can see what happens here in a traditional Fresnel operation this would actually be moving back and forth the lamp or the whatever is being used there would actually move backwards or forwards Ward's the land this is what projects the light gives you a narrower or wider beam but in this case here what's happening is when I put this back in and just clip it in like that is that all this is happening is that the actual lens here is actually moving further away from the LED elements that's how it works in principle it works exactly the same as say a normal Fresnel style or a Fresnel Lance would do it just does it in a different way they've got mounting points here as well this is where the mean you could just mount it normally or it does come with a yoke on to put it on on the back here you can see this is where you can actually the power goes in it uses this little three pin connector here and also you can see that there's this hole here now this is a battery sled for Sony MP style batteries now you have to be careful because it's light doors 55 watts and a lot of the MP Series batteries only get up to around about the 45 47 what so you need to use a specific battery KMTV does sell one but there are other versions on the market that will work you just need to check because if you try and use an empty battery that doesn't have enough words you'll find it since you turned up to a certain level the light will just shut off so now it's a good interesting option here because it does allow you to run a light this sort of size off a battery which is very handy if you're a single shooter and you know it's going around in two locations where you may not have any access to mains power that is a nice option to have the light comes with barn doors and see here they're threaded so you have to screw it on like that let's run there lock in quite nice and tight now here's the barn doors yes see they don't actually move around like you would find on say a data light but the way that they do move is that this front section here turns around so you can move it around and adjust it if need be now this does use a fan in here you can see all these exposed events up the back here there is a fan that runs it is pretty quiet I don't think you would have any problems with it unless you were using it very very close to a microphone so let's have a look what you get with the cane bolts and 55 watt fixture here so you get this bag reasonably cheaply made but you know it's okay so if we have a look inside here we get the unit obviously here with the barn doors attached here is the mounting yoke frame with the tightening lectures here over here this is the power supply and you'll see it's got a little 3-pin connector here now the problem I did find with this light is you can see down here that this is where the power connector goes so its ends like this and it moves around a little bit it's secure but it's not super secure the problem I found this movie sails away that if you have this up on a light standard normal rope at its normal position here is that the power connector is hanging straight down so people disapper on a light stand this cables only so long so then all of all the tension and all the weight from this suddenly gets pulled back onto this connector here now that could potentially be a problem cause it could eventually rip out or calls a fault I'm not sure why they designed it to go here I would have much preferred to have it on the side or something or even if they had to just put a little hook or something on the side or right here so you could attach this cable to get rid of the strain that comes through this connector back up the line when you've got it up high like I just said there before it's the rest of the power cable the end will the end that you get can be changed depending what country you're in they can send you a particular one that works for where you are located here nice little addition as well this is a DTaP power cable so you can plug it back into the base here and then you can run this off a anything it could provide a detail our supplies to say a V block or an inch on Bower battery if you happen to be using something like that another good solution for powering then in here as well you still get these three filters sort of like a milky white soft sort of diffuser and a and a CTO I did found that this works actually pretty well if you place this inside the the daylight version of the the volts and 55 watt here it actually does a pretty good job at replicating a tungsten lighting source and photometric data that I got when I tested it was pretty good so this is a good option you know if you're looking for a bicolor light then you can get away with using this because it comes with a kit it ends up being a cheaper solution now the other thing I forgot to mention earlier - I'll just take these bundles back off this filters out of the way now before I move this out of here and again take the plastic lens out which I will there you'll see that it's now sort of like open-faced and you can actually use the light like this without it's on here and it will create a lot wider beam spread you do happen to still sort of get that roundish sort of pattern in the middle though that you will get from a small lighting source but in a pinch it does provide for a lot wider beam angle and you can use this to you know punch it off a wall or a ceiling to to light up our largest sort of space so a nice option to have again with these is a couple of ways of using them you can just put it in front like this and then put the lens over the top or I mean I did find it there's a couple of ways of doing this really I did find when you put the lens back in there is a way of just going to use barndoors you can just hit it literally in the front like that and then screw this back on but screw this back on like that you can see it's sitting in there flash like that I found this was a better option than putting it behind you know didn't really risk get any different type of result using the lights lights using in either combination like this I guess if you really wanted to - you could probably take one of the softer diffusion ones and actually put it behind as well and use a combination of two if you wanted to go about and do it that way as I said earlier this is the yoke frame that comes with the lighting fixture very easy to put it on let's say that trying to put it on here on the table not doing a particularly great job put that slide on there and put this slide on here see I can tighten these up so gives you full range which is nice you can actually move this all the way around to light up a fairly good angle which which is a nice design feature on here now these are only plastic the problem I did find is even if I lock these off really tight I can still move and still move this around quite easily they don't really lock off very well not a massive problem but this does come with a bones with others an optional x-rays of bones mount attachment ear so you can put no cheaper alternative soft boxes or light modifiers on the front now the only problem with that is you adding a little weight on the front and I have a feeling that this is just going to pull down like this because it's not going to be able to support the weight there's something that I wish that was maybe made a little bit more secure for that very reason okay I'll go ahead and attach up some lights to some power here now so you can see how it works again just goes plugs into it for the mains power and there you go on the back draw an off switch nice click nicely made on the back here going to see your dimming percentage what it's at and you can see the color temperature in this case we've got the 3200 K version of the light here not sure why I bother having this because it's only available in tungsten or or daylight so I'm not sure why you need to show this M is your battery indicator and it shows you you know how much power is left if you're running an also an optional battery source if you're using it on mains power it's just going to stay full like that the service little thing is Wi-Fi on the bottom I'm not sure exactly how this is going to work it I guess you have to have some sort of adapter that goes in here this is going to be an optional extra it's not available yet it's scheduled to be coming I think sometime in February once you attach something to here you will be able to use an iOS app to control the the dimming of the unit and probably turn it on and off but I'm not quite sure about that just yet here you'll see this is my percentage what's nice is it's very finite control so you can actually adjust this all the way from 1% all the way up to 100 in small increments and it stays on all the way down to 1% which is really nice as well now the first time I took a couple of these lights out on the chute and use them on an interview I had been set up lighting a background and halfway through the interview one of them just turned off without any warning I couldn't get it to read turn back on after the interview I checked it I took the same power supply from that unit and plug it into the other one and had no problems with it it came back on so it wasn't the power supply I'm not sure what happened to that unit it might have just been a one-off bad copy I contacted came TV and sent it back through them and they sent me a another one and I haven't had any problems since then so I'm just going to assume it was a rogue unit but doesn't fill you with a sense of confidence when when something fails on a shoot like that so I'll just give you an idea of how it floods and spots here just turn it on this is the 3200 K version and you'll see this is fully flooded with the front lens element in and you can see that's how wide the source is from this distance I'm probably about 6 feet away from the wall if I then spot it in you'll see this is this is basically your range of what you've got this look at the barn doors fully open that's your spot capability that's your flood capability of course I can close up the barn doors if I want to a maker make a smaller source and shape it up to whatever I'd like to have it in different angles things like that you know I'll just take the barn doors off actually take the front lens and woman out she's done now and you'll see that's how much wider the source is here you can see it's reduce down because it's not being spotted so the actual output is being spread over a lot of wider areas so you can see it's considerably darker you can see how much wider that is if I just put the simple put the lens back in its spot you'll see there you go there's the intensity comes back up and what gives me that that control there I also did a quick test comparing the the KTV 55 watt bulbs from the 5600 version against the data light D LED 7 turbo by color just to see the difference in in terms of the range of flooding and spotting and then as you can see that the data has a lot greater range in terms of a wider beam spread has a lot more you know range of range of angled movements between going from fully flooded to fully spotted that's something that the came TV cannot do so there's a quick look at the came TV 55 watt bolts and fixtures again available maybe thirty two hundred or fifty six hundred K I think they retail for around about the 298 US dollar mark and you get all those accessories that I showed you before and some optional extras there's a v-mount place with a little bit of bracket on it to put on live stands a live stand the bow and adapter as I told you earlier there's some of the optional extras or reasonably priced all in all I think KMTV have done a pretty good job you know $498 it's hard to argue you know I do have some small quality concerns with the light and reliability over a long period of time would probably be right up there with my biggest concerns and in terms for you know bang for buck it's an impressive light very good photometric scores puts out a decent output reasonably versatile light and again you know good powering options variety of powering options and very affordable you know if you're looking for a data or alternative it may not have the the durability in some of the sort of higher-end features that the data has but the Kame TV is definitely you know a good solution if you're on on a budget and it provides a you know a high quality source for not much money

hi I'm Johnny from cinema 5d and welcome to another product review today on the bench we have the claim TV boyfriend 30 and 55 dot please a small affordable lightweight for men keep onboard LED lights both lights are identical in size and features stronger 55 lakh light has a red rubber ring and an internal hem both lights come in a small carry case you can get the Bolton in either daylight or tungsten versions the housing is made mostly from plastic but all the accessories are made out of metal the back display shows the battery level and dimming percentage and the Bolton is not so there's a bicolor unit the color temperature display info is not really relevant you can focus the light beam by pulling or pushing the front bar the attention of the front element is possible for indie band or flag placement the bay light unit come with an additional thanks to plastic filter and two types of diffusers mind you these are bit flimsy to install the classic focal length is removable if you need our shall light the bond those two on tight and are very secure the bowings mount for softbox and other compatible accessories is available separately both lights will run on multiple power objects Sony empty batteries AC adapter or with the supplied Fulton mini XLR to detach cable for demon butters the downside the Wi-Fi adapter bluetooth connectivity up currently available although there is a Wi-Fi connection its back not all Sony NPF type batteries work if you increase the output of a 50% of the 55 that version buttons are placed on top making it difficult to control the light when mounted on highlight stem edges created by the bundles a soft to conclude for less than $300 those like a good value for money they are good is a versatile travel light and are accurate and flicker free thanks for watching

everyone in today's video we're gonna talk about the aperture Fornell 2x my channel sponsored by @r mo which buys me time to create these type of videos without the influence from any specific camera brand i personally shop at adorama for their great deals on a wide selection of products as well as their support of those products down the road so if you're interested in any of the products discussed in today's video please use the links in the description below so I've talked in the past about using a fernell modifier as a great way to take control of light the for no lens was something that was originally designed for lighthouses as a way to efficiently concentrate and project light and today in photography they're most notably used for creating the old Hollywood style look just because of their synonymous use on stages and movies in the past on the spectrum of light modifiers the phrenology light modifier simply because it's a smaller light source than big umbrellas or big soft boxes but it's undeniably one of the best ways to control the look of light over a small area one of the unique things about a 4 now lens is as you move it further away from your light source it actually concentrates the light into a tighter and tighter area this is why most Fornell type modifiers have some form of zooming that way you can control the spill of light so if you're unfamiliar with aperture they create LED lights and light shaping tools they create everything from really small LED panels to large panels and now they're developing these RGB panels but some of their most popular lights would be the aperture 120 d and 300 d those are probably their most popular products because they are bones mount single source LEDs that are very quiet a product that I've lusted after for a while and still don't have so of course in addition to making all of those LED products they also make light modifiers such as this aperture Fornell 2x now it's called the 2x because not only is it their second edition for now they had a generation 1 Fornell product that they made that was also Bowens mount for their 120 and 300 d but it's called the 2x because this is 2 times more efficient at concentrating light than the original version now I never use the original for now so I'm not going to on this ones differences from the original for now but I will tell you everything that I love about this one first thing I want to get out of the way though is while this is a bones mount it is unfortunately not going to be compatible with everything bones mount and that's because the Fornell 2x utilizes a dual lens design so it has this front lens which is the for now lens the rib shape that we're all used to and it also has this rear lens and that's the one that takes all the light directly from the LED and then pushes it into the front Fornell lens now the rear lens is in a fixed position and it's actually not too far from the Bowens mount itself and while that doesn't affect anything for leds such as the after 120 d or even lights like i'm using such as the lumi 120 it does make it incompatible with a lot of flash products I tried mounting this on my 8600 Pro doesn't fit tried mountain on the 8400 Pro doesn't fit unfortunately anything with a large omnidirectional bulb that sticks out really far from the bones mount isn't going to fit in the final 2 X but I was able to use this with the 8200 on all three heads simply because you have the ability to pull the 8200 Omni directional bulb far enough back to actually mount the Fornell 2 X in front of it and you can get it over the 8200 round head although it's a really tight fit now while I will say that it's a little annoying that the rear lens unfortunately restricts you from using it on lights like the 8600 pro or the 8400 pro I understand why they did it the rear lens just make sure that all the light projected goes right into that front lens rather than leaking out of the corners of this product for instance I was previously using this impact for now which has no rear lens and light would leak out of the side out of these holes out of this little gap basically anywhere that light could escape it would and it would show up as these really fine patterns on whatever the light was hitting so a lot of times it would show up in my images so that's one of the reasons that I was looking for something to replace this now you can see when looking side by side how much beefier this HEPA chirp for now two x's and it's definitely a little bit heavier but it's not an enormous difference however this one just feels way better made and that shows in what you can use it on because this can handle up to 300 degrees which means you can throw it in front of pretty much any LED lighting product whereas this one it advises you directly on it not to put it in front of any LEDs drawing up to a 150 watt so I don't know if I even feel safe putting this on a 120 watt light let alone a 300 watt LED the zoom feature is really smooth especially when it's on a device it just extends and contracts in a really really smooth pattern I also appreciate that they put the degree spread on both sides of it so depending on what side of the device you're modifying whether you're kind of stepped up over top the light and zooming it in or if you're down below it and modifying you can see the degrees that you're at no matter where you are positioned now the only ventilation on the frontal 2 X is going to be on this back part right here as well as the back part of the front lens and the good thing about that is since this is pushing all that light forward that means there is no light leak whatsoever on this also this zoom range is way more accurate than the zoom range that I found on this impact for now this is supposed to go all the way down to 10 degrees this one goes down to 12 degrees however when i zoom these both in this is a tighter pattern of light all of those things just make the Fornell 2x really good for concentrating light onto a background or putting an accent light or hair light somewhere specific without lighting your entire set so if you need an idea of just how good a fernell modifier can be at concentrating light let's take a look at what happens when we put this in front of an LED with no modifier at 2 and 0 10 so the stop f28 and one-tenth of the style F four and five tenths of a stop f28 and four tenths of a stop so overall as a photographer I'm a little bummed that this doesn't work on all my lights like the 8600 Pro and the 8400 Pro but it's a great light shaping tool for Bowens mount LEDs as well as the 8200 far better than those grids that they give you with the akr one and even though this thing is very rugged I do appreciate the fact that they include a soft case for it at 120 dollars I do think it's a very good value so long as you're using it on lights that it'll be functional with and I think it's a far more rugged light shaping tool than the impact for now that I've previously discussed using if you have any questions about the aperture Fornell 2x go ahead and leave them in the comments below I hope you guys enjoyed this video subscribe if you'd like to see more and until next time keep on shooting

hi there my name is Greg Persinger and I'm the owner of vivid illumination over the years I've worked with hundreds of different churches and I picked up lots of tips and techniques along the way I'd like to share some of those techniques with you in these church tech talks today we're talking about the ellipsoidal and the fernell so here we have a vation 190 warm white ellipsoidal you may not have this particular fixture you may have a different manufacturers fixture but all the ellipsoidal pretty much work exactly the same so let's start out by talking a little bit about the different parts of the fixture and what the fixture does first of all we have interchangeable lenses and the fixture is focusable we'll talk about interchangeable lenses and how to pick a lens in another video we have shutters where we can shape the light we can put a gobo in the in the fixture and be able to project a pattern and the fixture is completely dimmable it's great workhorse fixture for all different throw distances and there's a lot of different things that you can do with the fixture so this is a four now today in our example we're using the Ovation 165 warm white for now but if you have a different manufacturers fixture they all work with the same similar principles this fixture has a nice flat even wash you can spot it down or you can flood it out and they have barn doors that you can add if you need to control the light let's talk about barn doors for a minute here on this for now barn doors are a really great addition especially if you need to shape the beam a little bit basically you pull the flag in or push the flag out depending on how you want to shape the beam it works great if you need to keep the light off of walls or video screens things like that now that we've talked a little bit about the capabilities of the fixtures let's talk about how we actually use the fixtures so the first of all let's talk about the for now one of the strong points of the for now is it is great at doing a state so in your church if you trying to light a large area especially if you have a speaker that likes to pace back and forth Vernell is a really great choice because you can light a large area you could put multiple fixtures together and all the fixtures will blend together really nicely you have to be a little careful that your throat isn't some of the lights from where they hang to the stage is not to long but as long as you're you know under that 30 40 foot range they do a really great job now let's talk about the ellipsoidal ellipsoidal is a really great to highlight a person or an object on stage with the shutters you can shutter cut it down you can keep the spill off the background and you can just highlight individual items or people a great example of this is lighting up a worship band you can go through and put a fixture on each player light them up and keep all the spill off the background and let all your background scenic light shine you can use the ellipsoidal to go through and make a big stage wash but because of the hard edge nature of the fixture it's a lot harder to blend them together it's a lot harder to make the wash nice and even that's why fernell is better for that application both fixtures are great tools the key is really picking which tool you need for the job but it doesn't have to be an either/or situation many times whenever I design for a church I use both I'll have a fern elf or a nice stage wash just to make it nice and even especially if you're shooting video and then I use an ellipsoidal to highlight different people in different areas of the platform so there you are some basic information about the difference between ellipsoidal and Pharrell's and when to use them of course as office in lighting design there isn't necessarily a right or wrong just better or worse so get out there take a gear play around with it see what you can do and have a great time designing as you go thanks a lot have a great day you

so one of the things i want to talk to you because it show you we actually get to show you which is pretty cool today is they do talk about lighting in the um chapter and everyone's always like i don't know anything about lighting i don't understand what they're talking about well these uh wonderful gentlemen they're all gentlemen so that's why i'm i'm saying that uh is uh when i said to them hey do you have any like pictures where i can really show uh what it is and they did me one better and i'm very grateful to brad and everyone else who made this happen so i'm actually going to get to show you today lighting examples of lighting three of the types of lights that i usually talk about in class and how we've come up with it is the first one is called a leeco and um l-e-k-o i may have written it down and forgot to turn the page so l-e-k-o you'll see this in the chapter alico and my dear friend carol at one point came up with this wonderful thing where she said alico lights the lectern for me that was became a great way to remember what kind of light it was because what some of us not in the trade might call just a spotlight i realized it was a very detailed spotlight that had an edge that was very very precise and hopefully i will do this right that is aliko so you can see if you look at the image you could almost take a pencil and draw right around the edge a lego light selector and when you think about it when you have someone standing at the lectern you want that very precise light on them so a leco lights the lectern carol teaching me that has been huge in me keeping my light straight the other cool thing about alico is this is what we can use i know i didn't do it right did i brad there we go i got it that is a gobo so um a gobo and for me the o's help me remember it a gobo is used on alico now a gobo most of you are probably familiar with them but they um they used to be done with uh gels films that were cut out and we could do them with logos and everything like that now as you can see with this one they can be done metallic so they can be used uh more than once which is pretty cool so a leco light selector and a gobo is used i can't do it the second time okay i'm not going to break they're not going to break the light so and a gobo is used on the liko so hopefully the o's will help you remember too so the second one which i recently learned i had been mispronouncing for years but that's okay i had a theater lighting major in one of my classes in february it's spelled f-r-e-s-n-e-l-s it looks like fresnels it's actually pronounced for now the s is not pronounced in the middle of it now this is a soft edge spotlight i always think of it in terms of the edges fade out they don't have that precise edge that the liko did so i think of it as fresnel fades on the edges still kind of what we would probably call spotlights not being too techy but it's got a fade on the end and then the third one which can be called and i've discovered that um you know lighting people and all people in this field they're very they call it one or the other is a par or a park hand and um it's more of a wash light washes all over the stage or in this case the the wall the drape and someone in one of my classes in the past year she says i think of it because it's park hand she says i think of a can of paint if i was to spill it and it was to flow everywhere that it would um cover the whole thing and actually brad the the lighting expert here with us today he was telling me that they actually did start out with like a car headlight in a can so that is uh a pretty accurate thing so let's just do it again so you can hopefully get this picture in your head and um i won't do the gobo i'll just do the ima the light itself so this is the liko liko lights the lectern it's got the very very defined edge and that's the one that the gobo can go in this is the fresnel it fades out it's also a spotlight but it fades out on the edges and then the par or parchan that floods that washes the whole stage or wall or whatever with light so i'm hoping thank you brad and everyone else who was involved in this i know they had to change all the cameras and everything too for me to be able to do this but i'm so grateful because this is the first time and for me to actually see them and truly understand them why i'm describing them is a great thing so hopefully hopefully that was interesting to you too you