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Arri/Kino Flo or KF/KF


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#1 Michael Winters

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Posted 28 March 2016 - 10:44 AM

Hey,

 

I shoot mostly narrative, documentary and music projects (live venues and music videos), and of course commercial work to support myself. I'm upgrading my lighting equipment, and my decision has come to either this: http://www.bhphotovi..._light_kit.html and this: http://www.bhphotovi...0W_3_Light.html or the above 2 light KF kit and this: http://www.bhphotovi...light_kit.html. I think I cover all my bases on what I want to do lighting-wise from big to small spaces. I am especially excited by the 4' KFs to add to an overhead rig in addition to the Arri's for even broader applications. I'm likely not finished in my research, but for the price I have configured for the Arri/KF kits, I get an extra light than without the Arri kit. I was also thinking of the simple psychology of a client seeing more lights/multiple brands in my equipment list as possibly coming out in my favor too. Let me know what you think!


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#2 Adrian Sierkowski

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Posted 29 March 2016 - 03:13 AM

I think, here in LA, renting a KinoFlo is about $25/day.  . . Dunno what the rental market is like in NoLa, but I bet all of that stuff can be found, rented, for the project as needed, and billed to the client later on. . as opposed to spending 9K in cash on lights, bulbs, stands, bags, etc to impress a client which may or may not work for the task at hand, or the camera being used, and without any of the grip equipment with which to shape the light. . 


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#3 Michael Winters

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Posted 29 March 2016 - 03:33 AM

Thank you. Just curious, I see on your website your gear list - how did you come about acquiring all that equipment?


Edited by Michael Winters, 29 March 2016 - 03:34 AM.

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#4 Adrian Sierkowski

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Posted 29 March 2016 - 03:43 AM

Started working when I was about 10. And you often pick things up for a specific project, or in some cases as a tax offset. Last piece of kit I bought was about $200 in light-bulbs because that's the style I'm working in now-- reglobing -v- dimming.

Most of the camera stuff I picked up over the years. One whole package was payment for a docu as opposed to an actual check they didn't have.

SR3 was the main purchase, with lenses, when my dad died (2007) with a good bit of that kit like many of the lenses and the mattebox and follow focus etc, and I had far more money in my pocket than brains in my head. Though granted, in that case, it made me a better DoP, though never made me money (and probably never will).

 

Bought my first Nikon, god, I don't even remember when, and pick up lenses over the years-- flea markets etc.

 

Rokinons rent in LA pretty well-- so investment with the proliferation of EOS mount cameras.

 

etc etc etc.

 

Also that's all camera stuff listed there. I have lights as well--mostly PARs, 1 small Arri Kit, though that was purchased long long ago for a documentary shoot of interviews--- the PARs i picked up for a film shoot where we had to do some high-speed without time to really re-light, so we used series of pars through some diffusion frames and the like to make up the stop loss going to 150fps. I got them because they were cheap and keep them with me because, I'll use at least 1 on every shoot-- but that's roughly a $100 light, give or take, -v- a 3000 kit.

 

Picked up 3 red-heads for $25 a piece when a shop was closing down. 2 still work, one is for parts etc etc.

 

If i did go buy an Kino Kit, i probably wouldn't get much cash for it, in truth; as generally speaking, it's much more cost effective, looking for results and not impressing a client with my name branded on something, to get a 3 ton lighting truck with grip for $500/day list (not counting discounts you get when you start working with a rental house). I mean I could in theory rent it for less than a rental house ($15/day maybe $20) but then I'm also on the hook for it getting beat to hell if i want to continue renting it out. And buying all the crap for it, and the bulbs. Why do that when I can rent one, and let someone else deal with that stuff?

 

Same can be said for cameras for the most part, though there is a great prevalence in the world in which I work, of the expectation for a camera for a few dollars with a DoP along for the ride. I do not like this situation, but it seems to be a growing trend.


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#5 Adrian Sierkowski

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Posted 29 March 2016 - 03:53 AM

Here's some perspective, this is a $500/day list price package rental:

 

Lighting

2 1200 Par HMI's

2 Kinoflo 2’ 4-bank w/3200 and 5600 Globes

2 Kinoflo 2’ 2-bank w/3200 and 5600 Globes

2 1K PAR daylight dichroic

2 Baby 1k Fresnel

2 200w Mini-Mole Fresnel

Electric

2 1k Dimmers

2 600w Dimmers

12 50’ Stingers

4 25’ Stingers

1 set A/C Splitters, Cubetap

 

Grip

8 Baby Stands

8 C-stands

4 4x4 Solid Floppies

2 24x36 flags

2 24x36 singles

2 24x36 doubles

2 24x36 silks

2 24x36 open frames

2 4x4 open frames

1 6x6 Butterfly Kit (Silk, Solid, Silver Lame, B/W Griff)

2 full apple boxes

2 half apple boxes

2 1/4 apple boxes

2 1/8 apple boxes

16 Sandbags

2 Beadboard Clamps

2 Baby Plates

4 C-Clamps w/ Baby Pin

2 Cardellini Clamps

2 Mafer Clamps

1 Baby Offset Arm

1 set pre-cut pieces for tungstens: 216,250, Opal

1/8,1/4,1/2,full,C.T.O.-C.T.B.

1/8,1/4,1/2,full,straw

1 milkcrate duvatyne pieces

2 Furniture Blankets

1 crate spare tungsten globes, many misc.

1 set practicals 15w-500w

Expendables

2 30x40" white cards

2 30x40” black cards

2 4x4 Foamcores

2 4x4 Beadboards

 

Now if you happen to have all of that stuff; sure, adding in some lights would be worthwhile, but I find it hard to justify spending 9K on some lights, which maybe you'll make some money on, -v- having a 4.5 (or 5 really) month rental bubble for THAT much stuff, which clients would be paying for anyway. And that's a HIGH quote I'd say as well (since i pulled it from a truck package which you'd also get a truck to haul it all in, with the caveats for that as well (hiring their best boy))


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