Richard, realistically, what's the ETA on your LED lights?

I'm trying to determine whether to buy from Flolights, who have LEDs right now - or hold off and buy it from you later. But I need a reasonably reliable ETA on your side. You've been working on LEDs for a long time, but so far there's nothing on your web site.

Thanks.

I would say if you're in a hurry then do what you need to do. There's always something new being developed and you can either wait the time it takes or you can't. And, you can have good, fast or inexpensive but not all three. Fast is usually the one that screws things up one way or another when you go for that and get too impatient. Fast and inexpensive are impossible in any case.

Our panel is at least 2 months off yet. Because manufacture and transport is a 2 month process--1 month for manufacture and 1 month for transport. Everything always takes longer than you'd like it too and there are other products we're working on too. People don't realize it but they like our products because we do spend the time to get it right.

I can't make all the various parts that are in process go any faster than they do and everything takes the time it takes. Molds have to be made, a good and consistent LED has to be chosen, things have to be fine tuned, etc. Occasionally, things come back from a process and aren't suitable so have to be sent back for another try. It's all part of doing manufacturing right and if you're only interested in the end of the process of something on the horizon being developed then I would say stick with what's out there already and that applies to everything from PCs to Cameras too.

"I would say if you're in a hurry then do what you need to do."

What I need to do is conflicting with what I want to do.

"I bought an evaluation model and looked the Lishaui 500 over,"

So, do you want to sell your sample? I'd rather buy it from you even if it isn't one of your products.

Its in China right now. No quick or easy way to get it to the USA (or should I say the 50th state) at the moment.

Yes the P7 emitters in the Betty Pro are bluish but are easily modulated with filters and as you said- full power only and add ND is necessary to dim them. I discovered a highly unlikely DIY diffuser dome that turns the beam into a 90º pattern, ideal for interviews or whole rooms when nothing else is around. Look here...
http://www.gearninja.com/Images/HV20acsy/HV20_Acsy_5.jpg
I cut part of my closet light's 'bulb' ( just plastic) to extract a dome to fit my Lupine Light. I used silicone adhesive to attach it to the bezel. works beautifully!
http://www.iosss.com/shopping/images/ea20-40.jpg


Hi all, first post after lurking around here for two years.

Saw that the Betty Pro mountain bike lights were mentioned, so I thought I'd chime in.

I shoot nature stuff - mostly close-ups and macro (snakes, lizards, frogs, evertebrates) but also animals not so close. I wanted a small and lightweight but powerful lighting system, so ca half a year ago I invested in two Lupine Betty Pro (1400 Lumen each) lightheads. I power them by one small Li-ion battery strapped to the handle of my EX1. These lights have a narrow beam that is un-suitable for anything but telephoto, so I have opaque diffusors attached ca 5 cm in front of the lights. Gives very soft and even light for macro shots. If there's a mammal or bird at greater distance, I tear off the diffusors and go tele.

These lights have a very blueish light, some 8600 to 8800 Kelvin. That mostly works fine for me since I rarely have other (disturbing) light sources when out in the field.

The biggest problem with these lights is the dimming circuits. I get rolling interference patterns - you know, like shooting a CRT screan - when dimming the lights. Haven't been able to get around it by any trick. But that's manageable: I just go full power and kick in the ND filter or make aperture adjustments.

The good thing about these lights is the small form factor and their high power.
They are not cheap, though.

Cheers,
Bjorn

I use my Mac Custom MAG that way. I set it to flood for a decent main and can bounce it in spot mode or use the spot as a hair light. I haven't done a picture of my actual light but here's the same light 'pimped out'
http://www.gearninja.com/Images/Alu/MacsMag.jpg



Can high output flashlights be used for this purpose?

LED-Z is a great company to deal with. As far as I know, they're the only one of about three companies that are serious about LED's in Video lights. I use their LED-Z Mini Par on stands and sometimes mounted on my camera. I can't wait for them to knock out some versions using the Seoul P7 emitter.
LEDz lighting, maker of LED Lighting Fixtures for Entertainment, TV, Film, and Theatre (http://www.led-z.com/)
http://www.gearninja.com/Images/HV20acsy/HV20_Acsy_8.jpg

I dont care what they say about these led lights and the colour temp I have tried a lot of them and they all look crap to me as they are too green to mix in with any other light source.

I absolutely agree with you Gary, I have been testing all types of LED's and filters and looked at the claims of several video light manufacturers ........ either their colour temperature meters need calibrating or they are just taking the LED manufactures specs as true

Christopher,
Do you know the brand name of the rechargeable HIDs from Sam's Club? Googling HID brings up a ton of various models, output ranges and configurations.
Thanks,
Ken

I absolutely agree with you Gary, I have been testing all types of LED's and filters and looked at the claims of several video light manufacturers ........ either their colour temperature meters need calibrating or they are just taking the LED manufactures specs as true

Well, for what it's worth, I just ordered a FloLight 500 LED light, and the sales staff there were very up front with me that these lights had a slight greenish tinge that might show up if you're using other lights as well. They recommended a 1/4 or 1/8 minus-green gel to correct the problem.

I went ahead and ordered anyway, 'cause the light looks like a good fit for an upcoming project, and I don't mind taping a sheet of gel on, if I have to. Might even leave it permanently on the unit.

We'll see how it works out.

Well, for what it's worth, I just ordered a FloLight 500 LED light, and the sales staff there were very up front with me that these lights had a slight greenish tinge that might show up if you're using other lights as well. They recommended a 1/4 or 1/8 minus-green gel to correct the problem.

I went ahead and ordered anyway, 'cause the light looks like a good fit for an upcoming project, and I don't mind taping a sheet of gel on, if I have to. Might even leave it permanently on the unit.

We'll see how it works out.

We have two of the Flolights at work. I have been shooting greenscreen with them for months. They are superb as greenscreen fill lights, they are even enough to light a perfect interview greenscreen yet they are hard enough to actually aim somewhat.

I am not crazy about them as key lights but as a greenscreen light, they are awesome. I was curious if I could key with them as daylight for the greenscreen and still use tungsten on the talent. Would the keyer care if the color temps of the two light sources were different? Not in the least. Ran a battery of tests and you can key them as daylight, leaving them uncorrected as 5600k and use tungsten to light talent. As long as you are far enough away to avoid spill, no problems. I tried matching the Flos to tungsten by putting some full CTO on them. They keyed better with nothing on them. LEDs are cool but kind of wimpy in their output or at least these ones are.

I would love to evaluate the LED-Z, they look quite a bit more serious than the Flos.

Dan

For those who are looking for an European supplier of this kind of LED panels that Flolight is selling , take a look here: www.videogrip.net (http://videogrip.net/ledlights-c-7_17.html)

Dan, have you tried Reflecmedia for greenscreen, instead of trying to light it?

I have no experience with it yet, but reviews seem to be glowing. Pricey though.

Those look exactly like the Flolight LEDs. Probably the same thing, but 220.

Dan, so you lit the green screen daylight, shot the talent tungsten and it worked OK? That's interesting. I might try that next time. About the LED output, they are only wimpy when compared to a more focused source. I compared the 500LED to a Lowel Caselight 2, which is the fluorescent equivalent, and the LED was about 1/4 stop hotter at 10 feet than the fluorescent. I think if the 500LED had the same mirror reflectors as the Caselight, instead of the pebbly stuff, they would probably be a good 1/2 stop better. I'm interested in adding the new LED 1000 to my package. That would be equivalent to the Caselight 4.

The brightest LED I have so far is about 135 lumens. That's the output coming from just ONE C4 LED. I haven't seen any that is mounted on a bank suitable for video so far. If there are any around, I would be interested to take a look.

I am not crazy about them as key lights but as a greenscreen light, they are awesome.

Why, in your opinion, don't they work as key lights? Interested in your experiences.

TengSern, here are the ones I use: Teleprompters - Prompter People (http://www.prompterpeople.com/led500.php)

The more common ones are from Litepanels, but they're a lot more expensive for basically the same thing. However, they have a clever design and can be arranged into huge banks as big as you want.

I key all the time with LEDs, especially when doing single or 2-person interviews. Because the LEDs I have are harder than the equivalent fluorescents, I always use diffusion gel when they're in close.

Dan, have you tried Reflecmedia for greenscreen, instead of trying to light it?

I have no experience with it yet, but reviews seem to be glowing. Pricey though.

Hi Alex:

Yes, I have been shooting with the ReflecMedia ChromaFlex system for over two years, I used it for all of the interviews for the "The Dawn Of Sound: When The Movies Learned to Talk" documentary that I did for TCM as well as hundreds of others with it.

Love the ChromaFlex it but if your talent has glasses, the system is limited because it is going to put perfect little green or blue rings of reflection in said glasses. When you key the talent, you get holes in their eyes where the green ring was, then you end up having to do a separate matte/key and keying in something white or gray so that the LED reflections look like ambient light reflections.

I shoot a lot of DVD bonus material for classic releases and interview many scholars, historians and older people, many of whom wear glasses so this issue keeps coming up over and over. So we have been trying to develop a smaller, lighter greenscreen system with a PVC frame, a foam backed green fabric and two of these Flolights. In tests, we find that the traditional greenscreen using the Flos tends to have cleaner darks, is easier to pull a clean key. Hair and other difficult items key cleaner using the traditional greenscreen technique. But you must have enough room to use it and you must be able to carefully control ambient light and you must have enough room to eliminate spill onto the talent.

Bottom line, I am still using both systems. If they don't wear glasses or you have a small space, ChromaFlex is still best. If you have glasses and or room to shoot in, the traditional way, using the Flolights provides a cleaner key.

Like everything else in this damn business, there is no single best way of doing it ;-)

Dan

Those look exactly like the Flolight LEDs. Probably the same thing, but 220.

Dan, so you lit the green screen daylight, shot the talent tungsten and it worked OK? That's interesting. I might try that next time. About the LED output, they are only wimpy when compared to a more focused source. I compared the 500LED to a Lowel Caselight 2, which is the fluorescent equivalent, and the LED was about 1/4 stop hotter at 10 feet than the fluorescent. I think if the 500LED had the same mirror reflectors as the Caselight, instead of the pebbly stuff, they would probably be a good 1/2 stop better. I'm interested in adding the new LED 1000 to my package. That would be equivalent to the Caselight 4.

Hi Bill:

Yes, shot an extensive battery of tests with the following:

1. Greenscreen lit with uncorrected Flos 5600k with talent lit with uncorrected Tungsten 3200k

2. Greenscreen lit with corrected Flos/full CTO with talent lit with uncorrected Tungsten 3200k

3. Greenscreen lit with uncorrected Flos 5600k with talent lit with corrected Tungsten/full CTB

Number one consistently gave us the best results using three different keyers. Sometimes you have to break the rules and just see what works. I don't like putting CTB on tungsten because as we all know it eats all of the output and the Flos are the same, with full CTO, they run out of throw pretty quickly.

Yes, I guess I am a traditionalist as far as output. I am use to firing up a 1k or 650 fresnel and having that amount of output. I own two Diva 200s and when I shoot with them, they seem similar in output to the Flos, nice quality of light but it falls off so quickly compared to tungsten instruments.

Dan

Cleaner key w regular greenscreen - that's what I suspected... :)

Thanks for the excellent, detailed explanation!

Why, in your opinion, don't they work as key lights? Interested in your experiences.

Hi Brian:

It's not that they don't work at all as a key source. It's just my preference for interviews. To me, nothing comes close to a 1k open face tungsten light through my medium Chimera. My Divas are the same, they don't render skin tones as nicely, they don't have nearly as much wrap since they are a much smaller source than a Chimera.

I shot a few interviews with them as key sources and they are kind of in between a hard light and a softlight. Harsher than a softbox, but not as cool looking as a fresnel. If you put a Chimera onto a Flo, you are killing all of the limited output. So to me, they are outstanding as a broad source for lighting BGs and green screens, not so hot for lighting talent. Plus that green spike they have, dealing with minus green is a hassle.

I think LEDs are the future, they will eventually replace tungsten, I just don't think that they are quite "there" yet as an all purpose source.

Dan

O.K., I just got my LED 500 and tested it out with my HD100. I did a manual white balance on a white card with the LED 500 as the only source, and came up with a color temp of 4300K, instead of the 5600K it's supposed to be!

I haven't put any minus-green on it, yet since my Rosco supplier isn't open on weekends. Could the green spike cause a drop in color temp like this? I'm really not too keen on putting CTB on this to raise the color temp.

Anyone else notice this? Is it possible I have a defective unit?

I checked mine with a Gossen color temperature meter and got between 5500 and 5600K, but closer to 5500 than 5600.

Hmmm... I'll have to test the HD100's white balance against some other known light sources, just to make sure it's accurate.

If so, I'll probably have to return the LED 500's. 4300 vs. 5600 is way off the 5% margin of error quoted in FloLight's technical specs.

hmmm... odd, I had my wb mem A set at 5600k for the mccall vid in the earlier post with the 500led's. I've never had to gel them to match osram 55w flos.

by the way.... I've read somewhere that color meters can't measure leds accurately.

White balance & colour meters tend to only measure the red/blue of the light spectrum not the green/magenta part (there are some meters that measure G/M separately)

So a reading of 5600K wont tell you how much green is in your light only where on the red/Blue scale it is - this is true of LED, flos & HMI (due to their nature it's less of an issue with Tungsten light)

So, if I'm getting a reading of 4300K, instead of 5600K, these lights are probably out of whack? ...sigh...

Guess I'll have to send them back.

The only real way to reliably test discharge and LED color temperatures (unfortunately) is with a spectroradiometer and integrating sphere. All those sources with a correlated color temperature (CCT) can't necessarily be accurately read with a simple color temperature meter. Most of those meters were made to work well with full spectrum lighting like tungsten. They don't understand the spectrum of anything with a correlated color temperature. When we want to accurately read the color of a bulb or LED, we have to take it to a testing facility since an integrating sphere isn't found just anywhere and they aren't portable either as you can see below...

Hmmm... I'll have to test the HD100's white balance against some other known light sources, just to make sure it's accurate.

If so, I'll probably have to return the LED 500's. 4300 vs. 5600 is way off the 5% margin of error quoted in FloLight's technical specs.

Good luck on that. I had to send my LED 500 back to PP because it was NOT 5600k, it was 4300k like yours.

They sent me the exact same fixture back and it was still 4300k.

Buyer beware.

Fabulous! I've never seen a picture of the sphere before.
I concur with your statement regarding the fidelity of readings made with a spectroradiometer versus a color temp. meter.Indeed, this reveals that the illuminations industry simply doesn't adhere to strict standards for measurement or labeling of light sources. It's a hugely frustrating issue that has had me at odds with the IEEE, and NIST at times. Surely there must be ISO compliant manufacturers?

The only real way to reliably test discharge and LED color temperatures (unfortunately) is with a spectroradiometer and integrating sphere. All those sources with a correlated color temperature (CCT) can't necessarily be accurately read with a simple color temperature meter. Most of those meters were made to work well with full spectrum lighting like tungsten. They don't understand the spectrum of anything with a correlated color temperature. When we want to accurately read the color of a bulb or LED, we have to take it to a testing facility since an integrating sphere isn't found just anywhere and they aren't portable either as you can see below...

Why? 4,300ºK is a fabulous place to be. It's far closer to matching the color temp of so-called 'Daylight' in the real world. The only 5,600ºK I ever see or want is in the shadows or top of a mountain scene. Otherwise, the sunlight that I've measured at the hours of the day that I actually shoot at... up till 9:00 AM and after 2:00PM is much closer to 4,300ºK. Heck, I have a special warm card that purposefully shifts my camera's manual WB towards 4,300ºK for people oriented shots.

You do realize that ambient daylight shifts enormously in CRI as well as Color Temp over the course of a day and that peak daylight color temps vary depending on geographic conditions?

So, if I'm getting a reading of 4300K, instead of 5600K, these lights are probably out of whack? ...sigh...

Guess I'll have to send them back.

Fabulous! I've never seen a picture of the sphere before.
I concur with your statement regarding the fidelity of readings made with a spectroradiometer versus a color temp. meter.Indeed, this reveals that the illuminations industry simply doesn't adhere to strict standards for measurement or labeling of light sources. It's a hugely frustrating issue that has had me at odds with the IEEE, and NIST at times. Surely there must be ISO compliant manufacturers?

Most everyone refers to "color temperature" on discharge lighting for the specs and LEDs too but its more technically called "CCT" or correlated color temperature because its a simulation. The only full spectrum light (despite a lot of hype) is real daylight or real tungsten with some rare exceptions here or there. Also, I don't know if there are small color temperature meters (usable for video/film) out there that will read CCT correctly but it would be interesting to see if some exist and it would also be good to know which (if any) camcorders that have color meters read and display CCT correctly (or not).

Why? 4,300ºK is a fabulous place to be. It's far closer to matching the color temp of so-called 'Daylight' in the real world. The only 5,600ºK I ever see or want is in the shadows or top of a mountain scene. Otherwise, the sunlight that I've measured at the hours of the day that I actually shoot at... up till 9:00 AM and after 2:00PM is much closer to 4,300ºK. Heck, I have a special warm card that purposefully shifts my camera's manual WB towards 4,300ºK for people oriented shots.

You do realize that ambient daylight shifts enormously in CRI as well as Color Temp over the course of a day and that peak daylight color temps vary depending on geographic conditions?

Most people believe and the consensus seems to be that daylight is between 5000K and 6500K so that's probably why they were concerned.

Most people believe and the consensus seems to be that daylight is between 5000K and 6500K so that's probably why they were concerned.

Well, not only that, but there's the issue of trying to color-match to other artificial lights as well. If they're "daylight" balanced, they'll likely be in the 5500-5600K range. My tungsten lights with a dichroic filter come in right at 5600K, and right at 3200K without the filter. Part of the reason I want color-balanced lights, is so I can use 5600K presets in the camera and avoid the compromises of manual white balance.

Also, I can't speak for the light in Maryland, but in Wisconsin on most sunny days, my camera's white balance is showing between 5000K and 6500K. It only dips down to the 4000 range when the sun is low in the sky in the morning or at dusk.

That's interesting about the difficulties in measuring the color temperature of LED lights. Once I get my copy of DVRack working again, I'll have to light a scene with the LED 500 and look at it on the vector scope. I'll be picking up some minus-green gel tonight, so I guess further experimentation is in order.

When lighting with the 500LEDs, I use my daylight preset and it looks good. The end result is all I care about. If there's a green spike, I don't see it in my flesh tones, or if I do, it looks OK. Just for fun I think I'll get some 1/8-green to see if there's any noticeable difference.

When lighting with the 500LEDs, I use my daylight preset and it looks good. The end result is all I care about.

Hey, Bill. Got any stills you could share with us? Are you using all 500LEDs, or are you mixing with other lighting equipment?

Thanks in advance.

I just did a test shoot with the cheap LED panels that started this thread. This was shot with an EX1 with one panel overhead and another coming in from the right as fill. The fill panel was diffused.

No color correction. Not too bad for tabletop work, but these panels are very lightweight and fragile.

Forrest

Nice image, Forrest.

How fragile would you rate the panels? Are they transportable? Do you recommend reinforcement?

I just picked up a softbox kit from Coollights to test against my LED 500 - having a bulb issue (possible shipping) before I can really get down and dirty - but if $50 could get me another panel similar that throws 200+ watts or so of light, they're sure nice to tote around over larger lights, even a large softbox with huge bulb.

Why? 4,300ºK is a fabulous place to be. It's far closer to matching the color temp of so-called 'Daylight' in the real world. The only 5,600ºK I ever see or want is in the shadows or top of a mountain scene. Otherwise, the sunlight that I've measured at the hours of the day that I actually shoot at... up till 9:00 AM and after 2:00PM is much closer to 4,300ºK. Heck, I have a special warm card that purposefully shifts my camera's manual WB towards 4,300ºK for people oriented shots.

You do realize that ambient daylight shifts enormously in CRI as well as Color Temp over the course of a day and that peak daylight color temps vary depending on geographic conditions?


Yes I realize that. I also realize that true daylight is usually around 5600k, not counting for twilight or early morning hours.

Otherwise HMIs would be 4300k, wouldn't they?

Also, if a light is ADVERTISED as a 5600k light, then 4300k just does not cut it.
Period.

Nice image, Forrest.

How fragile would you rate the panels? Are they transportable? Do you recommend reinforcement?

I just picked up a softbox kit from Coollights to test against my LED 500 - having a bulb issue (possible shipping) before I can really get down and dirty - but if $50 could get me another panel similar that throws 200+ watts or so of light, they're sure nice to tote around over larger lights, even a large softbox with huge bulb.

Hi Michael,

I'd rate them as very fragile. They're definitely a consumer level item, but will serve nicely for this tabletop shoot. I doubt that I'd recommend them for travel. They'd require some pretty good reinforcement since they're essentially made out of plastic and a thin backing.

But, you know, for a little more than $100 bucks including shipping they're pretty useful.

Hope that helps.

Forrest

You're very right about false advertising -but what's the point really? Truth in advertising or a light that's better balanced than the advertised rating?
What I can't tolerate is lights that are BLUER or More CYAN than they're advertised to be.
I spent too much time in LED research, testing and evaluation. I finally settled on filtered Seoul P7 clusters such as the Lupine Betty-X.
I also still use filtered hotlights which are inefficient but effective.


Yes I realize that. I also realize that true daylight is usually around 5600k, not counting for twilight or early morning hours.

Otherwise HMIs would be 4300k, wouldn't they?

Also, if a light is ADVERTISED as a 5600k light, then 4300k just does not cut it.
Period.

Surely what matters is how clean a white shows up on footage? For the eye to perceive a clean white, all that's needed is 5,000ºK on the nose on a white card. That assumes that you have a perfect sensor and signal processing in the CMOS.
"Most images that involve flesh tones, particularly of Caucasian persons will actually look pallid if lit with anything colder than 4,800ºK"
That's the sweet spot for Caucasian skin assuming an average background balance. If you're shooting reproduction of art or any still life that's color separation critical, then yes, 5,000ºK-5,600ºK is the sweet spot there.
LEDs are VERY different in how they interact with objects. It's the narrow band. It's not very 'real' when you consider the complexity of a stream of daylight interacting with all manner of surfaces. I'm designing an LED fixture that mimics full spectrum lights but delivers an aggregate of 5,000ºK. It should make objects look more natural - as though shot with daylight (To me, daylight is the combination of a massive diffuse skylight (generally 6,000ºK) pierced by source point , the sun-delivering between (4,000 and 5,000ºK) A soft bank of LED lights just mimics the skylight alone.

Most people believe and the consensus seems to be that daylight is between 5000K and 6500K so that's probably why they were concerned.

Ah! Yes. Production issues like hobbling presets can be a problem. My solution is to hand filter my LED lights to match my Incans with FULL CTB filters. That takes care of shifts. In fact, for what it's worth, I do the crazy thing of hand tinting my LED emitters with two sharpies to essentially alter their balance with out having to use gels.
OK, you read that here first ;)


Well, not only that, but there's the issue of trying to color-match to other artificial lights as well. If they're "daylight" balanced, they'll likely be in the 5500-5600K range. My tungsten lights with a dichroic filter come in right at 5600K, and right at 3200K without the filter. Part of the reason I want color-balanced lights, is so I can use 5600K presets in the camera and avoid the compromises of manual white balance.

Also, I can't speak for the light in Maryland, but in Wisconsin on most sunny days, my camera's white balance is showing between 5000K and 6500K. It only dips down to the 4000 range when the sun is low in the sky in the morning or at dusk.

That's interesting about the difficulties in measuring the color temperature of LED lights. Once I get my copy of DVRack working again, I'll have to light a scene with the LED 500 and look at it on the vector scope. I'll be picking up some minus-green gel tonight, so I guess further experimentation is in order.

Took a look on ebay at some so-called DJ lighting made by Chauvet (LED Techno Strobe ST-3000) panel and Chauvet (LED Rain 36) spot light. Could be useful. Hanging could be a little awkward. More like theatre lighting. Anyone try these...

Chauvet LED Rain 36 White DJ Lights Effect - eBay (item 380056771884 end time Sep-18-08 09:53:14 PDT) (http://cgi.ebay.com/Chauvet-LED-Rain-36-White-DJ-Lights-Effect_W0QQitemZ380056771884QQcmdZViewItem?_trksid=p3286.m20.l1116)

NEW CHAUVET ST-3000LED DMX LED TECHNO STROBE LIGHT 3 ch - eBay (item 280264460865 end time Sep-16-08 18:48:28 PDT) (http://cgi.ebay.com/NEW-CHAUVET-ST-3000LED-DMX-LED-TECHNO-STROBE-LIGHT-3-ch_W0QQitemZ280264460865QQcmdZViewItem?hash=item280264460865&_trkparms=72%3A1163%7C39%3A1%7C66%3A2%7C65%3A12%7C240%3A1318&_trksid=p3286.c0.m14)

kj

Second item is actually a strobe (but looks like it can also be used as steady light.)

Careful with LED strobes - looks like they produce worst artifacts in EX1 and similar CMOS cameras:

http://www.dvinfo.net/conf/933029-post13.html

The second light, the panel led can be opeated in static mode.

NEW CHAUVET ST-3000LED DMX LED TECHNO STROBE LIGHT 3 ch - eBay (item 280264460865 end time Sep-16-08 18:48:28 PDT) (http://rover.ebay.com/rover/1/711-53200-19255-0/1?type=3&campid=5336080103&toolid=10001&mpre=http%3A%2F%2Fcgi.ebay.com%2FNEW-CHAUVET-ST-3000LED-DMX-LED-TECHNO-STROBE-LIGHT-3-ch_W0QQitemZ280264460865QQcmdZViewItem%3Fhash%3Ditem280264460865%26_trkparms%3D72%253A1163%257C39%25 3A1%257C66%253A2%257C65%253A12%257C240%253A1318%26_trksid%3Dp3286.c0.m14)

From some of the detail shots it looks to be really well made. Looks like you would need ac power cords. Anyone have an idea how they could be attached to a typical video light stand? I have a vast collection of Lowell Tota Stands. Could probably recycle the Lowell power cords as well.

kj

Here's a PDF of the users manual...

http://www.chauvetlighting.com/system/pdfs/ST-3000LED_UG.pdf

kj

Here's the PDF for the Spot Light...
http://www.chauvetlighting.com/system/pdfs/LED-RAIN36_UG.pdf

kj

The unit has a yoke and a hole in the yoke so it should attach just like any other light with a baby stand to yoke adapter (also known as TVMP adapter).

I'm curious though why that one would be better than the 225 LED one on Ebay that started this thread. The price is quite different too but will it really be that much better for the price difference and it doesn't even have the same number of LEDs on it.

Thanks for the tip.
Quick search found a couple of TVMP adaptors...


Matthews | TVMP Adapter | 429492 | B&H Photo Video (http://www.bhphotovideo.com/c/product/33181-REG/Matthews_429492_TVMP_Adapter.html)

Avenger E390 - TVMP ADAPTER(YOKE TO STAND) (http://www.bogenimaging.us/Jahia/product_main_page/site/bius/lang/en;jsessionid=AC2961D65BBF327ED1B4BDC89A591798.worker3?kindOfProductCollectionRequest=productDetail&productCode=E390&productDescription=TVMP%20ADAPTER(YOKE%20TO%20STAND)&curBrandId=BAV&market=MKT3)

Looks like it would be difficult/impossible to tilt the lights in a downward position. If you wanted to raise the light above a talent and have it shine down may be problematic.

kj