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Blue & Green Screen

(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 fixtures; 100’ x 75’ blue screen lit with two rows (top and bottom) of Image fixtures with Kino Flo 420nm blue screen lamps on the feature film Swordfish.

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.  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 film or high end HD shooting, the best saturation of color is achieved by using Kino Flo’s specially formulated blue and green screen lamps: 420nm blue-spike lamps (488-K10-S) and 525nm green-spike lamps (488-K5-S).  The phosphor inside each lamp produces a desired color, measured in nanometers (nm) at the highest point in the energy level.  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.
For more information, see Blue and Green Screen Lamp Options

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.


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

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 fixture 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 87 and 47 are the softest with the most even beam spread. For smaller screens, location systems such as the 4Bank and Diva-Lite fixtures are popular because of their in-studio/on-location versatility.
Image 87 fixtures are usually rigged in rows on 7ft (2m) centers. Image 47 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.
However, ParaBeam and ParaZip fixtures are popular on mid-size to small stages because they do not hang down as far as the
Image 87 fixtures. Their shallow profile is ideal for lighting wide low cyc wall areas.
Energy Savings – Kino Flo softlights have more light output per watt than tungsten lighting; low power consumption; low heat; and
cost savings from not using gels.
Features – Kino Flo Image 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 cords. Also, the versatility of
Pole-Op yokes allow for quick adjustments. Kino Flo’s location systems, such as the 4Bank DMX, are popular for smaller studios because
they can be removed from the overhead mounts and used in the field.
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
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.
Energy & Cost Savings
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 410 (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 410 (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 410 (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

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