Lighting & Lighting Accessories
Then there was 'light'
Without some form of light there cannot be an image. The important question is what lights and how they should be used.
At 16oz we tested every known light on the market and have invested in those fixtures that offer the best performance for what we do. Our main testing criteria was that our primary fixtures must offer beautiful full colour spectrum light that is flicker free up to 2000fps. Silicon imagers produce cleaner images with daylight balanced fixtures and therefore we tend towards daylight balanced fixtures. We do carry a range of Tungsten fixtures but we mainly use them for effects or as Tungsten balanced light.
We have invested quite heavily in lighting considering the relatively small studio space, but in doing so it has allowed us to cater for and adapt to pretty much any project. So no matter what comes through our studio doors we can deal with it.
It is popular fallacy that we no longer need big lamps. This misconception comes from the semi-truth that modern cameras are more sensitive. Unfortunately the sun is not getting duller and we shoot more high-speed footage than ever before. When it comes to big, punchy, direct-able, versatile daylight sources there is currently no competitor for HMI technology.
Of all the suppliers, K5600 creates the most versatile fixtures, which is why most of our HMI fixtures come from them.
ALPHA 9K (also operates as a 6K)
For this 9Kw fixture K5600 lighting chose a 450 mm Fresnel lens for its optical features allowing a 10° to 60° clean controllable beam. Like the rest of the Alpha family, the lens is removable to create an 80° (half angle) even beam for hard shadows and perfect for Chroma key.
The Quartz reflector shared by the entire Alpha line up allows the fixture to be mounted pointing straight down.
ALPHA 4K (also operates as a 2K)
A compact and lighter fixture with interchangeable Fresnel lenses allowing for more options than just flood and spot.
The new approach to the Fresnel concept reduces almost half the depth compared to traditional Fresnel fixtures.
Optically it offers great versatility from Open-Eye (86°) for extra wide beam with a single hard shadow to precisely controlled Fresnel from 7° to 65° using the two different Fresnel lenses: Spot or Flood.
With its wide variety of beam angle, the Alpha 4K is capable of replacing any open face and Fresnel, and in some configurations, a Par.
JOKER BUG 1600
The Joker Bug 1600 features a specular reflector and a set of 4 traditional PAR 64 lenses – Medium, Wide, Super-Wide and a Frosted Fresnel. These lenses provide varying light patterns from 5 to 45 degrees and a maximum output due to the reflector design (Parabolic reflector) and finish.
The Joker 1600 ZOOM Beamer is revolutionary. This lens-less focusable Beamer gives 15 to 60 degrees of even light output. With its physical similarities to a faceted umbrella, the soft finish beautifully distributes light across your subject.
By removing the Beamer and adding the protection beaker, the JB 1600 becomes useful fixture for applications in lightbanks and lanterns.
JOKER BUG 800 & 400
With 50% more light output than a 1200W in a Chimera, the Joker Bug 800 is as well constructed and versatile as the Joker Bug 1600, but in a much smaller package. The Joker Bug 400 shares this same flexibility but is smaller still.
Some additional benefits with 800 & 400 include:
- Ready to Fly. The Joker Bug 800 fits in one tiny airline case, weighing only 38lbs. The size of the kit is exactly the same as a Joker Bug 400.
- Location Friendly. The Joker Bug 800 will produce as much output as a 4000W quartz fixture with the power draw of only 11 Amps allowing for another source such as a Joker Bug 400 (with a power draw of 5.5 Amps and comparable to a 1500/2000W quartz fixture) to run on the same circuit!
Dedo DLH400D HMI
When you need a Dedo light, you need a Dedo light. Operating as either a 400W or 575W and using patented dual lens optics, the beam quality is what sets this apart from any other light. It has a perfectly even output all the way through the focus range with no hot spots, no dark rings and no stray light. Shadows are perfectly clean and crisp.
The focus range runs evenly from a super tight 4.5° spot to a wide 50º.
The Octodome provides a huge diffusion area producing a beautiful, wrap around, soft light. It has an extremely flat profile making it ideal for working in confined spaces.
We have two DLH400D HMI’s as well as a DLH400SDT with Octodome.
In addition to all the latest advancements in lighting technology, we still house some good old fashioned tungsten fixtures. We carry tungsten fixtures from 150w up to 10k.
Remote Phosphor LED
16oz was, as many, very excited by the marketing claims of the LED lighting manufactures. Unfortunately very few products available have a clean useful output for today’s digital imaging sensors.
Cineo were the first to back up these claims with genuine and accurate results. After conducting our own rigorous lighting tests we were confident that Cineo had introduced a range of LED lighting to the market that was on par with the superior HMI technology. A range that we would be happy to integrate and use to compliment our other fixtures.
Cineo TruColor HS
TruColor HS from Cineo Lighting is the first colour accurate digital soft source designed specifically to meet the strict standards of motion picture and broadcast production. With more than twice the output of a 2K incandescent soft light, TruColor HS delivers an extended CRI over 95, generates a 160º beam spread, and uses less than 500 watts of AC power.
Remote Phosphor Technology (RPT) eliminates the colour accuracy limitations inherent in LED fixtures. Instead of relying on LEDs as the source of illumination, TruColor HS independent phosphor panels emit high-quality light when excited by the high-frequency wavelengths from blue LEDs.
The interchangeable phosphor panels allow a variety of colour temperatures to be achieved with a single fixture. The Correlated Colour Temperature (CCT) of the TruColor HS is extremely consistent from fixture to fixture, and will not change over time like other lighting technologies.
Cineo Maverick is the portable member of the family from Cineo Lighting. This fixture provides all of the benefits of Remote Phosphor Technology found in the TruColor HS and LS. Interchangeable phosphor panels permit a variety of colour temperatures in one fixture. Extended CRI for Maverick is over 95 and it generates the same 160° beam spread as HS and LS.
The Maverick delivers a volume of light equal to a traditional 1K soft source, optimised for image capture as well as other applications that demand accurate colour rendering.
Lightweight at only 2.3kg, it come with a wide array of accessories, mounting options and can be DC or mains power. It is also weather-proof.
Another LED light source that lives up to its claims. With a smooth, continuous spectral distribution, it produces pure white on film and digital cameras and matches existing tungsten sources!
The D7 is an ultra light-weight, rugged, all aluminium constructed fixture producing over 10,000 Lumens using only 120-watts. It can be battery powered for challenging locations and fast setups, but works just as well in the studio with its excellent colour rendition, silent operation and is flicker free.
Other features include:
- A Fresnel that zooms from 11-70º
- A Soft-Light that out-performs panels
- An umbrella light for huge soft throw
- A tilt-shift lens to light evenly from an angle for groups, green screen, or movement
- A small practical light for china-balls, car interiors, etc
All of our ballasts are suitable for high speed filming and can run at 50Hz, 100 Hz, 300 Hz and a 1000 Hz.
The compact 9 Kw ballast weighs only 24.8 Kg and can be easily moved around. This ballast can fire up the 4K, 6K and 9K. It also has an auto scan function which automatically corrects the frequency to ensure flicker free shooting at any speed.
All of our fixtures are DMX compatible and we have the ability to rig and program basic to complex setups with ease, and with precision timing.
Fixtures can be manipulated manually either via a highly customise-able but ultra-compact playback surface, or by programming sequences within DMX software.
The software takes on a different approach to the traditional method of programming DMX devices by providing a live visual representation. This makes planning and executing complex setups much faster.
Fixtures can be controlled within 0.1ms intervals. Perfect for high speed filming.