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LED panels dual color - How to choose?

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Andreas Ahston
LED panels dual color - How to choose?
on Dec 23, 2014 at 7:19:27 pm

I have rented 1x1 LED panel lights on a few occations now and these kind of lamps are really great for the kind of productions that I do. Easy to move around and very versatile.

But now I want to buy one or two of my own and there seems to be a lot of options out there. Hard to know what to look for. I would really appreciate any experience or advice about brand from anyone. Are there any particular producers that I should check out? What kind of problems can these lamps have that I should be aware of? I heard complaints that some LED panels have a green tint?

I would like the lamp to have a dimmer and a dual color knob. At the moment I am looking at these ones that I can get at my local dealer:
and these ones that someone is selling second hand nearby:

Merry christmas

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Kirk Darling
Re: LED panels dual color - How to choose?
on Mar 2, 2015 at 4:25:25 am

I've been in still photography for 40 years, but brand new in video. That means I know color and light balance, but LED continuous lighting is new to me...but I remember well the days before electronic flash, too.

My experience so far with LED panels and high-intensity near-point LED lights shows that apparently the hole in the magenta portion of their LED spectrum is normal and only corrected with the very highest end units.

I say this is a "hole" in magenta rather than a spike in green. If it were merely a spike in green, it would be easily corrected by filtration--you can always remove excess. It's hard to correct properly for a lack without suffering a shift in other colors--but we can live with that in most cases, especially if we intend to color grade the production anyway.

Another issue is that even without the magenta hole, an LED light doesn't necessarily hit its advertised color temperature, and they may noticeably vary even within the same make and model. That means the key light might be a noticeably different color temperature from the fill. That's a particularly nasty problem to deal with in post.

This is rather an old problem in a way, resurfacing. Back in the old tungsten light days of stills (which is still rather the norm in video), tungsten lights had a tendency to vary in color temperature as they aged. Filtration at the light source was the answer. That's why I'd heavily lean toward variable temperature LED lights with the expectation of testing and indexing each light for the setting that matches my other lights.

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