• Blogs
• Forums
• Tradeshows
• Partners
• White Papers
• Events

 

Shoot Review — Kino Flo Kamio 6

Sep 1, 2005 12:00 PM, By Tom Patrick McAuliffe

Ring light system shines balanced, beautiful light

Lighting separates the pro from the amateur. It makes the difference between programs that are watchable and those that are not. When executed properly, lighting is the force that can make a so-so set into an unforgettable visual scene that has lasting impact. It remains, however, an oft-overlooked aspect of the shoot budget.

When you talk to lighting directors, they'll tell you that achieving natural lighting of the human form, especially in medium and close shots, is not easy. With the -Kamio 6 ring light system, however, Kino Flo presents a simple lighting solution for a variety of applications. This is a tool that is used in multi-million dollar productions for television, film, and video. But thanks to rental houses and to the newer, less expensive Kamio 6e version of the kit, more modest budget productions are able to use fluorescent lighting technology from Kino Flo.

The Kamio 6 system is designed for high-end film and television production, while Kamio 6e is aimed at electronic newsgathering (ENG) and general video productions, especially those shot on DV. The basic difference is that the 6e fixture does not come with a two-stage clip-on matte box. Thanks to Kino Flo's Hollywood rental division, I was able to test both products. They came in a sturdy road case. Kino Flo offers a kit with a Mini 50 standard LCD light and the new IR light. This is what we tested.

After working with the lights for a few weeks, it was easy to see why they're becoming so popular. LED ring-light technology is also generating a lot of buzz, but these are circular fluorescent lights. The Kamio delivers a flicker-free light that would be perfect to use for interviews, and that's exactly what I needed. Because the ring light is on the same axis as the lens — actually mounted around it — the Kamio produces an even, soft light that I have not been able to duplicate with other on-camera lights that mount on a camera's hot shoe. The Kino Flo True Match full-spectrum lamps are easy to exchange and come in various color temperatures and wattages.

I was able to test the Kino Flo units on two different cameras: a large Sony Betacam SP camera and a Sony VX1000 DV camera. I was able to set up both quickly, but one was easier than the other. The Kamio fit right onto the Betacam via one of six adapters that are included with the kit. The VX1000 was a little bit of a challenge.

Mounting the Kamio 6e to smaller DV cameras can be accomplished as long as the cameras feature a lens style and lens size to which accessories must be either screwed or twisted on. A simple adapter allows you to go from whatever your camera lens diameter is to the diameter required by the ring light.

This type of adapter is readily available from a lot of dealers because it's used to adapt matte boxes to smaller lenses for both video and still photo cameras. Camera dealers like B&H sell them for about $20. These adapters can take various lens sizes and step them up to an 85mm diameter for use with a Kamio 85mm ring adapter. It took some searching, but I purchased a Chrosziel ring adapter locally and screwed it onto the front element of the lens of the camera so that I could then use the included 85mm ring adapter to fasten the unit directly to the camera's lens.

Not so fast: The VX-1000's onboard mic was in the way! But as I was using a BeachTek DXA-4 audio converter box (RCA to XLR) and would use external wireless mics anyway, I unscrewed and detached the camera's mic. I worried about all that weight on the front of the lens and the front of the camera. However, with a good, heavy-duty tripod it proved to be no problem at all.

I recorded a series of interviews in five or six different settings in one location. Each time, there was no setup. Using the included dimmer, I could adjust the intensity of the light with the turn of a knob. I placed a small 100W HMI light behind the subject to separate him from the background and provide a little bit of a halo effect. The Kamio light was even, and I was able to adjust its intensity so the talent did not need to squint when looking directly into the lens and light. Very effective. The unit ran cool, and when I wanted to try a different color temperature (5600K, 3200K, etc.) or different wattage lamp, it took only a minute to change the bulb. For special effects, I tried different color gels and cutout shapes and inserted them in the light path via the Kamio matte box.

One option I was not able to test — and would have enjoyed — was the Kino Flo Universal Flex Arm, which swings the light around any size lens, rather than mounting the Kamio directly on the lens. Another option I was not able to test was using the unit with a NiCad power belt or an Anton/Bauer on-camera battery. Either of these would be essential for true portability.

The 12VDC @ 6 amp power converter box and the dimmer box are built like metal tanks, but for my tastes they're way too bulky. I'd like to see a version that uses portable power sources and includes a dimmer knob on the unit itself. I didn't care for the limitation of being tethered (about 25ft.) to an AC power source, but it was a small price to pay for flexible and wonderfully even-looking light.

Other than these slight shortcomings, I find nothing else to add in this product's negative column. The Kamio cast a beautifully flattering light on my talent every time. Via the included barn doors and dimmer unit, the light was extremely controllable. Also I never burned my hand, and setup was always a snap. Both the Kamio and Kamio 6e are rock-solid in construction.

By designing the Kamio to adapt easily to a wide range of professional film and video capture equipment via the included adapter rings, the company has designed a lighting solution that's extremely convenient and adaptable for a lot of different applications. (Although some rings for smaller cameras should be included.) That's especially true of the cost-effective 6e kit, which I foresee replacing many of the hot lights that are traditionally used for ENG work. Another attractive feature is that the tight diameter of the Kamio doesn't leave a “ring” reflection like other products. Its reflection, if there is one at all, looks more like that of a traditional light.

Kino Flo stands behind its products with a one-year warranty on the electronics and tech support via email for the life of the product. I don't think you'll need either.

Smaller one-on-one shoots are the bread and butter of independent video production today. Instead of carrying an elaborate and heavy three- or six-light kit with stands and sandbags and all that, I'll just take a Kino Flo Kamio ring light. My back will never give out from carrying around heavy gear, and I'll always be ready for my close-up.

Although Kino Flo certainly did not invent the ring light, the company has been around for decades in one form or another. Its lights are now considered somewhat of a standard — as in when the DP or cameraman says, “We'll Kamio that shot.” Shooters at all levels interested in a product that will pay for itself through its versatility and convenience would do well to buy or rent a Kamio 6 or Kamio 6e ring light system for their next video or film production.

Contributing writer Tom Patrick McAuliffe is a journalist, entertainer, and video creator in Hawaii. He's also the editor of Broadcast Engineering's Audio Technology Update e-newsletter.

---

BOTTOM LINE

Company: Kino Flo
Sun Valley, Calif.; (818) 767-6528
www.kinoflo.com

Product: Kamio 6 ring light kit

Assets: Rugged kit, beautiful and balanced light output.

Caveats: Needs heavy-duty tripod. Lens adapter not included.

Demographic: Video shooters who need a simple, professional lighting setup.
Price: Kamio 6: $2,500
Kamio 6e: $1,195

---

feedback

To comment on this article, email the Video Systems editorial staff at vsfeedback@primediabusiness.com.

© 2009 Penton Media, Inc.