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Home> Colors and Visual effects        
   Color Lamps      
   
       
Blue/Green Screen Lamps Intro      


K
ino Flo’s specially formulated blue and green screen lamps provide deep, rich saturation of color when lighting blue and green screens.  The phosphor inside each lamp produces a desired color, measured in nanometers (nm) at the highest point in the energy level.  The Kino Flo blue and green screen lamps available are 420nm blue
(488-K10-S) and 525nm green (488-K5-S).

The lamps along with Kino Flo’s soft cool fixtures with manual and DMX light control make Kino Flo a favorite choice among lighting professionals. 

         
Lighting Blue/Green Screens Back to the top    
      


(Pictured left to right: 80’ x 20’ vertical screen lit with Kino Flo 525nm green screen lamps, one of the many visual effects sets
of Mission Impossible II which included over 100 Kino Flo Image 85 DMX fixtures; 100’ x 75’ blue screen lit with two rows (top and bottom)
of Image 85 DMX fixtures with Kino Flo 420nm blue screen lamps on the feature film Swordfish.)

Blue and Green Screen Lamps – Whether you’re lighting a blue or green screen for film or a virtual studio,
the screen needs to be lit evenly and with the best possible color saturation.  Evenness is easily achieved
using Kino Flos because of the soft quality of the light and the wide beam spread.  For film or high end HD shooting, the best saturation of color is achieved by using Kino Flo’s 420nm blue-spike lamps (488-K10-S) on
blue screens and 525nm green-spike lamps (488-K5-S) on green screens.  It’s not as much about how much light is used to light a screen, but rather what produces the best saturation of reflected blue or green light. 

For virtual studios, Kino Flo’s True Match® KF32® (3200K) lamps (488-K32-S) are used more often than any other lamps due to the proximity of the subject to the screen.  See Virtual Studio and Chroma Key for more information.


Rigging - When lighting blue or green screens, the rule of thumb is to place the fixtures in front at about
half the distance of the screen height, with the fixtures tilted down at a 45° angle.  For example, if the
screen is 20ft (7m) high, the lights should be hung 8-10ft (3-3.5m) in front of the screen.

Fixtures – For larger screens, the Image 85 and 45 are the softest with the most even beam spread. 
For smaller screens, location systems such as the 4Bank are popular because of their in-studio/on-location versatility.  

The Image 85 fixtures are usually rigged in rows on 7ft (2m) centers.  Image 45 and 4Bank fixtures are rigged in rows on 5ft (1.5m) centers.  A row at the top and bottom of a screen will increase brightness of the blue or green reflected light, and on screens higher than 20ft (7m), the light will be brighter and more evenly spaced.

Energy Savings – Kino Flo softlights have ten times more light per watt than tungsten lighting;
low power consumption; low heat; and cost savings from not using color gels.

Features – Kino Flo Image 85 and Image 45 fixtures come with onboard studio grade features such as
DMX lamp switching controls, mounting systems, diffusion frames, focusing louvers and built-in AC power cords.  The versatile 4Bank also has a DMX option with manual or DMX lamp control.

Lamping Up – Kino Flo recommends safety coated blue 420nm lamps (488-K10-S) for blue screen and
safety-coated green 525nm lamps (488-K5-S) for green screen.  The safety-coating cuts the ultraviolet end
of the color spectrum to produce a cleaner matte.  However, when the subject matter is in direct contact with the screen, use Kino Flo True Match® KF32® lamps (488-K32-S)

See Blue and Green Screen Lamp Options below for more information.

         
Blue and Green Screen Lamp Options Back to the top    
         


Blue Screen using Kino Flo 420nm Blue Lamp (488-K10-S)

The blue spike of this lamp is ideally suited for blue screen.  Before Kino Flo, tungsten light was used but its broad spectral distribution and high red content does not saturate the screen as well as the 420nm blue lamp.  Tungsten displays a high peak of contaminating red color between 670nm to 800nm making a clean blue layer exposure very difficult.

Blue Screen using Kino Flo KF32 3200K Lamp (488-K32-S)
When the subject matter is in direct contact with the blue screen,
use Kino Flo True Match® KF32®.  The KF32 peaks slightly bluer at 490nm.  The additional blue energy
spikes at 404nm and 436nm further enhancing the ability of the KF32 to deliver superior blue layer exposure.  Quartz/tungsten light has its blue energy peaking at 515nm.  The KF32 has dramatically lower red energy
making it better at cleanly exposing the blue layer of film.  Quartz/tungsten has contaminating red energy between 670nm and 800nm.

Green Screen using Kino Flo 525nm Green Lamp (488-K5-S)
The lamp has a narrow concentration of green between 500nm and 560nm.  This highly efficient green source makes it ideal for clean green layer exposure.  Quartz/tungsten has a broad spectral distribution.  Its green energy peaks between 490nm and 675nm with an undesirable rise in red contamination between 690nm and 800nm.

Green Screen using Kino Flo KF32 3200K Lamp (488-K32-S)
When the subject matter is in direct contact with the green screen,
use Kino Flo True Match® KF32®.  On green screen material, both quartz and Kino Flo’s KF32 (3200K)
follow very similar spectral distributions.  The KF32 has an advantage over quartz due to its lower
red spectrum response and because it has a slight green spike at 547nm.  The green spike means you
need less KF32 illumination than quartz to get the correct density on the green layer.

Virtual Studios and Chroma Key Back to the top    
         

(Pictured left to right: 20’ x 20’ (7m x 7m) visual effects green cyc and floor lighted from above with Kino Flo Image 45 DMX fixtures, lamped with True Match® 3200K full spectrum tubes; Image 45 and Image 85 DMX fixtures globed with 3200K lamps lighting blue screen virtual studio background, as well as dancers in the foreground.)

Virtual Studio Lighting – Conventional composite screen illumination allows the screen to be independently
lit from the foreground action. Virtual studios differ in that the entire environment is either green or blue.
The subjects are in direct contact with the blue or green floor. The Kino Flo® True Match® KF32® lamp
(488-K32-S)
provides the ideal illumination for skin tones. Its enhanced blue and green response and its lower red response makes this lamp a better choice over tungsten.

Rigging – Virtual Studios come in many sizes, but the rule of thumb is to measure the wall height and
hang the Kino Flos half the distance downstage.  The fixtures hang in a row on 5-7ft centers (1.5-2m)
side by side, usually at the same height as the stage wall being lighted.

Fixtures – Different fixtures produce different kinds of soft light; the Image 85 and Image 45 are the softest, with the most even beam spread.  They cover the most area with the fewest number of fixtures. 
However, ParaBeam and ParaZip fixtures are popular on mid-size to small stages because they do not hang down as far as the Image 85 fixtures.  Their shallow profile is ideal for lighting wide low cyc wall areas. 
The 4Bank, Foto-Flo and Diva-Lite fixtures are sometimes used because of their in-studio/on-location versatility.  The 4Bank also has a DMX option with manual and DMX lamp control features.

Energy Savings – Kino Flo softlights require little power, and do not overheat the stage.  The Energy and
Cost Savings chart below shows the energy savings of a ParaBeam 400 (Center or Yoke Mount) compared to
a virtual studio lighted with incandescent softlights.

Features – Kino Flo Image 85 and Image 45 fixtures, along with the ParaBeams, come with onboard studio grade features such as DMX dimming and/or DMX lamp switching controls, mounting systems, diffusion frames, focusing louvers and built-in AC power cord.  Also, the versatility of Pole-Op yokes allow for quick adjustments.  Kino Flo location systems are popular for smaller studios because they can be removed from the overhead mounts and used in the field.

Lamping Up – Virtual studios use Kino Flo True Match® KF32® (3200K) lamps (488-K32-S) more than
any other lamp.  However, when the studios are used for film and high end HD shooting, the Kino Flo fixtures take specially designed Kino Flo 420nm Blue (488-K10-S) and Kino Flo 525nm Green (488-K5-S) spiked
visual effects tubes, for the deepest color saturation possible. 

See Blue and Green Screen Lamp Options above for more information.  All lamps last for thousands of hours.

         
  Virtual Studio Energy & Cost Savings Back to the top    
 

    
Kino Flo delivers award-winning lighting that's easy on the environment and the pocketbook.
Compare the energy and cost savings of a ParaBeam and a tungsten softlight:


  Energy Efficient
Fixture  F.C. @ 10ft or 3m Wattage Amperage
ParaBeam 400
(55Watt KF32 x 4 Lamps)*
70 FC/800 LUX 220W 2 Amps
Tungsten Softlight
(500W x 4 Bulbs)
70 FC/800 LUX 2,000W 20 Amps

*95 CRI lamps; Lower CRI lamps have higher lumens

  Lower Air Conditioning Costs
Fixture  Amps per Fixture BTU/Hour*
ParaBeam 400
(55Watt KF32 x 4 Lamps)
2 Amps 750 BTU’s
Tungsten Softlight
(500W x 4 Bulbs)
20 Amps 6,824 BTU’s

*1 Watt/hour = 3.412 BTU/hour lumens

  Lamp Savings
Fixture  400 Hrs 2,000 Hrs 5,000 Hrs Cost/Hr*
ParaBeam 400
(55Watt KF32 x 4Lamps)*
­----- ­----- $100/fixture $.02/Hr 
Tungsten Softlight
(500W x 4 Bulbs)
$60 $300 $600/fixture $.12/Hr

*Approx. hours of studio operation/1 year

         
Color Lamps Intro Back to the top    
     


In addition to the popular Kino Flo® blue and green screen lamps, other Visual Effects and Color lamps available include party colors: blue, green, gold, pink and red for set design work.

All Kino Flo Visual Effects and Color lamps display a narrow band of light energy in the color spectrum. 
The phosphor inside each lamp produces a desired color, measured in nanometers (nm) at the highest point in the energy level.  Kino Flo’s line of visual effects and designer color lamps are often used in production design, as seen here on the set of a Lenny Kravitz music video, filmed in Hollywood.  The production designer on this job used more than 500 4ft and 2ft daylight, and red and blue colored tubes individually controlled through a DMX system and choreographed to the video’s score.

See Designer Colors below for available lamp sizes and colors.

 
Color Lamps Spectral Charts Back to the top  
     
 

 

 Visual Effects & Color Lamps
  — Safety Coated (SFC)
Back to the top
  Blue & Green Screen - SFC*      
             
               Bi-Pin
420 Blue & 525 Green
           
Part Number Description Type Length Diameter Nominal Base Wattage
242-K10-S 2ft Kino 420 Blue SFC F40/T12/HO 24”
(600mm)
1.5”
(38mm)
G13 Med Bipin 40
242-K5-S 2ft Kino 525 Green SFC F40/T12/HO 24”
(600mm)
1.5”
(38mm)
G13 Med Bipin 40
488-K10-S 4ft Kino 800ma 420 Blue SFC F75/T12/HO 48”
(1200mm)
1.5”
(38mm)
G13 Med Bipin 75
488-K5-S 4ft Kino 800ma 525 Green SFC F75/T12/HO 48”
(1200mm)
1.5”
(38mm)
G13 Med Bipin 75
           
  Designer Colors - SFC
Part Number Description Type Length Diameter Nominal Base Wattage
488-K4-S 4ft Kino 800ma 450 Blue SFC F75/T12/HO 48”
(1200mm)
1.5”
(38mm)
G13 Med Bipin 75
488-K6-S 4ft Kino 800ma 580 Gold SFC F75/T12/HO 48”
(1200mm)
1.5”
(38mm)
G13 Med Bipin 75
488-K7-S 4ft Kino 800ma 612 Pink SFC F75/T12/HO 48”
(1200mm)
1.5”
(38mm)
G13 Med Bipin 75
488-K8-S 4ft Kino 800ma 625 Red SFC F75/T12/HO 48”
(1200mm)
1.5”
(38mm)
G13 Med Bipin 75

 Visual Effects & Color Lamps Back to the top    
  Blue & Green Screen      
55W Compact
420 Blue
55W Compact
550 Green
96W Twin
420 Blue
96W Twin
550 Green
55W Quad
420 Blue
55W Quad
550 Green
Part Number Description Type Length Diameter Nominal Base Wattage
242-K10 2ft Kino 420 Blue F40/T12/HO 24”
(600mm)
1.5”
(38mm)
G13 Med Bipin 40
242-K5 2ft Kino 525 Green F40/T12/HO 24”
(600mm)
1.5”
(38mm)
G13 Med Bipin 40
488-K10 4ft Kino 800ma 420 Blue F75/T12/HO 48”
(1200mm)
1.5”
(38mm)
G13 Med Bipin 75
488-K5 4ft Kino 800ma 525 Green F75/T12/HO 48”
(1200mm)
1.5”
(38mm)
G13 Med Bipin 75
55C-K10 55W Kino 420 Blue Compact F55/CFL 21”
(530mm)
1.5”
(38mm)
2G11 4Pin 55
55C-K5X 55W Kino 550 Green Compact F55/CFL 21”
(530mm)
1.5”
(38mm)
2G11 4pin 55
55Q-K10 55Watt Kino 420 Blue Quad  F55/QFL 12.5”
(320mm)
3.75”
(95mm)
G10q 55
55Q-K5X 55Watt Kino 550 Green Quad  F55/QFL 12.5”
(320mm)
3.75”
(95mm)
G10q 55
964-K10 96W Kino 420 Blue (Twin) F96/CFL 34”
(860mm)
2”
(50mm)
G10q 96
964-K5X 96W Kino 550 Green (Twin) F96/CFL 34”
(860mm)
2”
(50mm)
G10q 96
           
  Designer Colors
Part Number Description Type Length Diameter Nominal Base Wattage
488-K4 4ft Kino 800ma 450 Blue F75/T12/HO 48”
(1200mm)
1.5”
(38mm)
G13 Med Bipin 75
488-K6 4ft Kino 800ma 580 Gold F75/T12/HO 48”
(1200mm)
1.5”
(38mm)
G13 Med Bipin 75
488-K7 4ft Kino 800ma 612 Pink F75/T12/HO 48”
(1200mm)
1.5”
(38mm)
G13 Med Bipin 75
488-K8 4ft Kino 800ma 625 Red F75/T12/HO 48”
(1200mm)
1.5”
(38mm)
G13 Med Bipin 75
* Kino Flo recommends 420nm Safety Coated Blue for Blue Screen and 525nm Safety Coated Green for Green Screen.


Lamp Safety - Coating Kits Back to the top  




         
     Order Code        Description
     SFC-24        2ft Lamp Safety-Coating Kit, 24 pk          
     SFC-48        4ft Lamp Safety-Coating Kit, 24 pk          
     SFC-96        8ft Lamp Safety-Coating Kit, 24 pk          
     SFC-T12        Lamp Boots (T12) and Glue, 50 pk          
         
Lamp Tester Back to the top    
           

   

PART # TST-LAMP      Lamp Tester

The hand-held Kino Flo® Lamp Tester checks for damaged fluorescent tubes and saves the labor of putting lamps into fixtures for testing. The diagnostic pin sockets confirm that the cathodes are in good working order at both ends of the tube. The telescoping antenna excites the phosphors to ensure that the glass is not cracked and gas has not escaped.

Lamp Base Types Back to the top    
         
 
           
Back to the top

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