Developing new LED solutions for the pro

[tommy_k_hlbrugge]

<p>I'm doing research for a LED company in the Netherlands that is planning to produce high-end LED solutions for the professional photographer. If you could help answer these questions it would be much appreciated!<br /> <br />- What are currently the best LED solutions in the market if money is no object?<br /><br />- What should be improved in these products?<br /> <br />Thanks for helping taking photography to the next level!<br /><br /></p>

[Jochen_S]

<p>Arri offer some LED fresnels. Hedler another big name for continous light. - I never worked with that stuff yet. Could you create some bastard with considerable amount of continous light that flashes too, both modes at same adjustable color temperature with somewhat proportional intensity?</p>

[Charles_Webster]

<p>My biggest complaint about current LED lights is that in order to get adequate brightness, multiple sources are used in arrays. The nature of such arrays prevents any ability to focus or even adequately control with barn doors.<br>

In addition, when the LED arrays are used bare, they create a multi-shadow effect that is totally unlike a diffuse source of similar size. If the LED sources were brighter, then adequate diffusion could be placed in front to remove the multi-source effects, but as it stands they just aren't bright enough.<br>

As I've said here before:<br>

Good LED lights aren't cheap<br>

Cheap LED lights aren't good</p>

<p><Chas><br /><br /></p>

[Tim_Lookingbill]

<blockquote>

<p>- What should be improved in these products?</p>

</blockquote>

<p>Simple test on whether you've improved upon color rendering of LED's outside of ridding the mulit-shadow effect is to make sure cadmium yellow viewed under direct sunlight...</p>

<p>http://davinciartistsupply.com/shop/images/faber_castell/fc_167407_x.jpg ...</p>

<p>Doesn't turn to lemon yellow under LED...</p>

<p>http://stemsatlanta.com/boutique/wp-content/uploads/yellow-and-navy-fall-colors.jpg</p>

[rodeo_joe1]

<p>I completely agree with Charles. Panel arrays are no good for light control and the light output needs to be <strong>much</strong> brighter than most current panels.</p>

<p>When I was starting out I could only afford a couple of Tungsten incandescent photo lamps amounting to 1500 watts input power in total, or about 30,000 Lumens output. That was woefully inadequate even for portraits. I don't see any LED lighting on the market outputting anything close to that amount of light. And those old hot lights were close to point sources; meaning getting hard or soft light from them was a simple job.</p>

<p>So to sum up: LED lighting needs to be far brighter, much more compact and with a spectrum close to that of daylight, or at least as good as Xenon flash.</p>

<p>BTW. Some research is being done into the use of graphene to remove heat from the LED chips more efficiently. And I've seen some domestic LED lamps where the chips are placed around a cylindrical substrate - giving a much better approximation to a point source.</p>

[Tim_Lookingbill]

<p>These guys are on the forefront of LED technology with regard to color rendering and solving the mult shadow issues through bulb diode array design...</p>

<p>http://www.soraa.com/technology/VP3-vivid-color</p>

[studio460]

<p>For ENG/EFP use, you're basically competing with KinoFlo Diva-Lite 200/400s, which are fluorescent-based units. We do also use LitePanel-brand 1' x 1' bi-color LED panels, but only for fill (we don't use them for keys because their source size is too small). Both KinoFlo fluorescent tubes and LightPanel LEDs produce excellent color rendition. Off-brand LED panels often need correction gel (e.g., 1/4-minus green). The problem with LitePanels is their cost: About $1,000 for a single 1' x 1' bi-color panel. Ideally, I would prefer a larger source, where a 2' x 3' panel would strike a good balance between weight, size, and light quality. The ideal LED array for ENG/EFP television field production would be:</p>

<p>• 2' x 3' LED array.<br /> • Variable color temperature (bi-color).<br /> • Dimmable.<br /> • Under 12 lbs.<br /> • Under $2,000 USD.<br /> • AC/DC-powerable.<br /> • Accommodates Anton/Bauer GoldMount 14.4V "brick" batteries.<br /> • Uses ball-and-socket mount (not a yoke), similar to current KinoFlo Barfly mounts.<br /> • Neither DMX connectivity nor a digital display (e.g., Kelvin) is necessary (but may be offered in a separate, more expensive studio version).</p>

<p>Essentially, take the basic design of a LitePanel 1' x 1' bi-color/flood LED panel, or a Manfrotto Spectra 1' x 1' bi-color/flood LED panel, and make larger, single-unit versions of these (ganging individual 1' x 1' panels makes the rig too heavy). CRI has to be perfect and consistent from unit to unit. If you can meet these requirements at anywhere near that price point, you'd sell a ton of 'em to ENG field crews.</p>

[tommy_k_hlbrugge]

<p>Thanks everybody. This is some great info! Will look into it and see which ones we should order to take a closer look at.</p>

[studio460]

<p>Tommy:</p>

<p>I'm glad you re-visited this thread. For what it's worth, we happen to be in the process of building a new interior TV studio where I work (basically, an ancillary insert-stage on a floor in a high-rise building), and we've also been considering the following DMX-able, panel-style lights (specifically for their slightly higher output):</p>

<p>Cineo: http://www.cineolighting.com/<br /> KinoFlo Celeb: http://www.kinoflo.com/Products%20Button/LED/Celeb%20400%20DMX/Celeb400_DMX.html</p>