The Nanlite Forza 300 is a LED COB spotlight normally used with a reflector to provide a 55 degree light cone.
The lamp is 300 watts and can be powered from the mains with the included power adapter or vai a pair of V-lock batteries. It is daylight balanced at 5500K and has a CRI of 95 (measured by myself). It has always resulted in very pleasing skin tone whenever I have used it.
The 300 watt LED COB emitter produces a similar amount of light to a 3000 watt tungsten lamp. This makes the Forza 300 suitable for illuminating very large areas or as a source light for a large soft box or for use with large silk diffusers. Nanlite make a very nice parabolic reflectors/soft boxes for the Forza lamps that are very quick to erect due to the use of clever quick locking support arms.
The lamphead has a standard Bowens mount so there are many light modifiers that can be used, but one that I particularly like is the Nanlite zoomable Fresnel adapter. This large fresnel lens can be adjusted to provide a very tightly controlled light beam from just 5 degrees wide to 45 degrees wide. It comes with barn doors and turns the Forza 300 into something comparable to the old Arri 2K fresnel, just without the heat and power draw.
I’m a big fan of fresnels as they give you good control of where your light is going. Make it dimmable as well and you have a very versatile lamp.
The light can be controlled via DMX as well as a couple of very cheap wireless remote control units (around £20/$30) and an app is due to be released soon.
Like many modern lights it also has a number of effects modes including strobe, storm, TV and bad bulb and these can be quickly and easily selected from the lamps control unit and power supply. The build quality is very good. The lamp head is mostly metal while the control unit is a mix of good quality plastics and metal. The whole thing weighs 4.8kg so you don’t need a particularly large light stand to support it.
with a street price of around £650/$850 this is a very affordable yet also very capable lamp. I would suggest that anyone trying to build their own versatile light kit should include at least one spot light and not just rely on LED panel lights. Having a good, bright spot light allows you to a lot more creative lighting as a spot light, especially if you add the Fresnel lens can be used with gobo’s or objects in the foreground to create interesting shadow effects.
For a recent short film shoot I used the Forza 300 to throw light through a forest of trees. The trees creating interesting shadows adding a lot of extra contrast to the shots. For another scene I used the Forza 300 as a backlight through some smoke for an interesting mystic effect. A flat panel light cannot reproduce these effects in the same way.
For this shoot I needed to power the lamp off batteries. It is worth noting that if running the lamp at is maximum output of 300 watts you will be drawing over 10 amps from each of the 2 V-Lock batteries need to run it. This is right at the limit of what many V-Locks can deliver. As a result you may find your batteries cutting off before they are fully discharged. To run a high power LED lamp like this you should consider Lithium Manganese batteries or other batteries capable of at least a 12 amp output. My own preference is to use Pag Paglink batteries as by linking two batteries together you can double the amount of power they can deliver. Using 4 Paglink batteries (2 pairs of 2) I was able to run the lamp for 90 minutes at full power.
The lamp I used for the review was supplied by Prolight Direct UK. They are very knowledgable with many years of experience with all kinds of film and television lighting, so do contact them with your lighting needs.
I highly recommend the Forza 300. It is, in my opinion, one of the best of this type of lamp on the market today and very competitively priced. Please see the video above for more information.
I have just return from one of the most challenging shoots I have been involved in. The shoot took place over 5 days in and around Tromso in Norway. The aim was to gather footage to show off the capabilities of a new type of 4K TV from Phillips.
We shot the Northern Lights, we shot dog sledding , snow mobiles, shots of the city and sailing on the fjords. Each part of the shoot had many challenges and a lot of the shoot took place at night and at night the crew slept in cabins, tents and on the yachts. Shooting from the ice and snow covered deck of a yacht in temperatures well below zero is not something I enjoyed. And to top it all off the weather was pretty grim fro most of the shoot. Heavy snow showers, freezing temperatures and towards the end strong winds.
Because image quality is paramount for this project I choses to use the best lenses I could, but at the same time space and time constraints dictated that zoom lenses would be desirable. We were shooting 16 bit raw as well as XAVC class 480 on my PMW-F5 and some pick-up shots in UHD XAVC-L on a PXW-FS5. For the PMW-F5 the primary lens was the Fujinon Cabrio XK6x20, 20-120mm PL zoom and to ensure we had similar looking images from the FS5 I used the new Fujinon XF 18-55mm. I have to say that I’m quite in love with both of these lenses.
The Cabrio 20-120 is a beautiful lens and it’s really nice to have a servo zoom that is truly parfocal. The 20-120 produces really nice images even in the most challenging of conditions and at T3.5 it’s reasonably fast throughout the entire zoom range. This was the lens that I used for the majority of the shoot, in particular for the many night scenes we shot. The E-Mount 18-55 on the FS5 produces images that matched really well with the bigger lens and camera. This is a combination I would love to use on more shoots where the budget will allow.
One particular scene that we had to shoot was particularly challenging. It was a set up shot of a night time arrival of a couple of snowmobiles at a Sami camp site. The Sami people are the indigenous people of Northern Norway and they have a particular style of tent know as a Laavu which is similar to a teepee or wigwam. The idea behind the shot was to have the snow scooters arriving with headlights blazing and for the drivers to then enter the tent lit only by the light of a campfire inside the tent. At the time of the shoot it was snowing heavily and was totally dark. Turn off the lights of the snowmobiles and you could not see a thing.
While modern cameras like the F5 are very sensitive, the light of a campfire inside a tent will not adequately light a scene like this on it’s own. I didn’t want a totally dark background, so I decided that I would subtly light the trees of the forest that we were in to add some drama and give some depth to the background and a sense of being in a forest.
As we were travelling continuously on this shoot there was no space for a large or complex lighting kit and the remote location meant we needed battery powered lights. In addition I knew before we left that there was a chance of bad weather so I needed lights that would work whatever mother nature decided to throw at us.
I decided to take a set of 3 Light & Motion Stella battery powered LED lights. It’s just as well I had the Stella lamps as on top of all the other difficulties of the shoot the weather decided it was not going to play ball. We had to shoot the scene (and much of the shoot) in the middle of a snow storm. Fortunately the Stella lights are completely waterproof, so I didn’t need to worry about rain or snow protection. Just set them up turn them on and use the built in dimmer to set the light output.
To light the scene I set up a Stella Pro 5000 in the woods behind the Sami tent, aimed through the trees and pointed directly towards the camera. I chose to backlight the trees to provide a sense of there being trees rather than lighting them. I felt this would look less lit than throwing a ton of light into the forest from the front and I’m pleased with the result.
The Stella Pro 5000 is very bright for a compact battery operated light, it’s 5000 lumen 120 degree output that is pretty close to what you would get from a 200W HMI, it’s very bright. It has a very high CRI and gives out great quality daylight balanced light. It was positioned so that the light itself was behind the tent on a small bank, about 20m back in the woods. You couldn’t see it in the shot, but the light coming through the trees created shafts of light in the snow and the trees appeared as silhouettes. It added depth and interest to what would have otherwise been a near totally black background.
Then to provide a small amount of light so that we could see the riders of the snow scooters as they walked to the tent I used a Stella 2000. I didn’t really want the light from this lamp to be too obvious as this would really make the scene look “lit”. I didn’t need the full 2000 lumen output so I used the built in dimmer to reduce the output to around 70%.
The third light was a small Stella 1000 and this was placed inside the tent with a scrunched up orange gel. The Stella 1000 would typically be used as a camera top light, but it’s full dimmable and produces a very high light quality, making it suitable for many applications. The creases and folds in the orange gel helped break up the light a little creating a less lit look sympathetic to the fire inside the tent.
It allowed me to increase the illumination in the tent, adding to the light from the fire without it being obvious that the tent interior was lit. For some of the shots I had an assistant sit in the tent, out of shot and slowly move the gel in front of the light to add a little movement to the light to mimic the firelight even better.
At the moment I can’t show you the footage. That will have to wait until after the launch of the TV. But I’m really pleased with the way this scene came out. It’s challenging trying to shoot in the dark, in a blizzard, in temperatures well below freezing. Every aspect of getting this scene was hard. Opening a flight case to get out some kit meant getting snow on everything inside it. Just positioning the light up the woods was tough, the snow was up above my knees as I waded through it. Operating the camera is so much harder when it has a rain cover on it. The viewfinder was constantly misting up as snow fell on it non stop. Seeing the witness marks on the lens is difficult (although thankfully the marks on the Fujinon 20-120 are huge and easy to see).
But sometimes it’s challenges like these that make the job interesting. I know I was cursing and swearing at times trying to make these shots work, but seeing the scene come to life in the grade is all the more rewarding.
I’ll be writing more about the Fujinon 20-120 very soon, so why not subscribe to my blog using the subscribe bottom on the left.
I have been loaned a set of 4 Stella lights to test. I have the Stella 1000, 2000, 5000 Pro and 7000 Pro to play with and test. I’m going to take a quick look at the 1000/2000 now and will write up the 5000/7000 in a later article. These lamps are made by Californian company Light & Motion (www.lightandmotion.com) and I have to admit that this is a new brand to me. The portable lighting market is full of many different lights from different manufacturers, so it’s a tough market to stand out in. However these lights really do stand out from the crowd for many different reasons.
Build Quality: If you are going to stick a light on the top of a news camera it had better be tough. It’s going to get bumped, bashed, knocked and generally have a tough life. The Stella lamps are all beautifully made. The bodies are made from a very robust feeling plastic material while the lamp surround is made out of anodised aluminium that acts as a heatsink to keep the lamps cool. They have been built to withstand being dropped onto concrete from 1m multiple times without breaking and while I haven’t actually tested this, I do believe that they would survive this and the rigours of life on top of an ENG camera.
Power: The lamps have built in high capacity batteries. You don’t need to buy batteries or run the lamps of the cameras batteries. The internal battery in the Stella 1000 will run it for an hour on full power and around 7 hours at low power. The brighter 2000 will give about 50 mins at full power and 6 hours on low power. If you want longer run times you can attach an adapter to run the lamp from an external power source. Re-charging is fast at a little under 2 hours from flat and you can pack these in the hold of an aircraft as the battery is installed internally and under the current restrictions for Li-Ion batts on aircraft.
Control: The lamps have a built in dimmer that allows you to select one of 6 different brightness levels. Being LED units there is no color temperature change as you dim the lamps. The dimmer control can be locked in the off position to prevent accidental operation, plus the lamps have a thermal cutoff to prevent damage if left on by mistake when covered or perhaps packed in your luggage. There are 3 LED’s that indicate the batter state and dimming level.
High Quality Light: Instead of the more common LED panel design with an array of a large number of small LED’s the Stella’s feature a single high power Chip 5000K LED. This gives a beam angle of 120 degrees and the light is very uniform across this entire spread. The lamp heads are designed to take modifier lenses that can be used to reduce the beam spread to 50 degrees and 25 degrees if you need more of a spot light. I used the 25 degree fresnel adapter to turn the Stella 1000 to a mini spot light and it was very effective.
The quality of the light from these lamps is very good. The have a CRI of 90 as well as a TLCI of 90. They are also flicker free so suitable for shooting at high frame rate. In use I found the lamps gave great skin tone rendition and I didn’t see any of the green cast that is often common with lower quality LED lamps.
These are surprisingly bright lamps. The Stella 1000 is 1000 lumens and surprise, surprise, the Stella 2000 is 2000 lumens. That’s one heck of a lot of light from such a small and compact unit. Everyone that I have shown these lights to has been impressed by the intensity of the light output. The Stella 1000 is similar to a 75W tungsten lamp and the 2000 close to a 200W tungsten lamp. As the Stella’s are daylight balanced if you are using them as a fill light when shooting into the sun there is no need to gel them as you would with a tungsten light. Add to that the ability to use a clip on fresnel lens to narrow the beam angle and you are approaching the performance of 300W gelled tungsten fresnel fixture but with a compact battery operated lamp. I would consider the Stella 2000 as a replacement for an Arri 300 fresnel in many applications.
Waterproof! The Stella 1000 and 2000 are waterproof! Not just shower and splash proof, but completely waterproof. They can be operated underwater at depths of up to 100m with needing to buy any extra seals or fit any bungs or plugs. I know that when I shooting in adverse weather conditions this will be a big deal as normally the camera will have a nice fitted cover, but the top light is almost always left exposed to the elements. Now I don’t need to worry.
Light and Motion have a wide range of accessories for these lamps including all kinds of different mounts and handles. As well as the usual barn doors there are some clever light modifiers including the clip on 25 degree fresnel lens, a clip on 50 degree lens, a clip on diffuser, gel holder and glo bulb.
So far I have been really impressed by what these small lamps can do. They may not have variable color temperature, but the consistency and quality of the light they produce is amazing. The companies tag line is “Beyond Bright” and I’m inclined to agree.
I’ve also been loaned the Stella 5000 Pro and 7000 Pro to test. I’ll be writing about these beauties in the coming weeks!
Camera setup, reviews, tutorials and information for pro camcorder users from Alister Chapman.