November 18 2019
I have utilized my K5600 Big Eye Fresnel during a recent studio dance session. I have never used a large Fresnel as my key light for dance. But based on my prior testing I decided that the light produced by this instrument was worth the try. Thankfully the AD agreed and so I used it for dance for the very first time. I will say that unlike other modifiers, focusing rods, soft boxes, etc. a Fresnel instrument is unforgiving with moving subjects. But for the right mood, I find it to be worth the effort. No it won’t be for all of my dance sessions, but for the ones I want this delicious type light, I won’t hesitate to use it.
October 13 2019
After having converted a Mole Richardson 412 Fresnel spotlight to accept a strobe my local client base began to fall in love with the lighting style of a large Fresnel. Since spotlights were used in the 1930-40s for portraiture there is a very romantic look and feel to the imagery. My issue with the converted 412 is it is almost impossible to transport via airline. Plus I’ve invested loads of time and effort so if it were to be damaged or lost I’d be pissed! My remote clients wanted to know ‘When we get that kind of light Mark!’
I looked at a Bron Flooter, but for around 4.5k and the same transport issue I did not consider it viable for my needs. I then found the K5600 Big Eye Fresnel and for 2.2k it fit within my budget, but more importantly I could break it down for airline transport. So at first I tried to rent one, but then decided to purchase the unit. This is where my troubles began. I found that the unit is no longer manufactured by K5600 to purchase, but can be rented at several different rental houses. My preference is to purchase my equipment since I often find rental units to be poorly cared for with either missing or non functional parts. I was lucky enough to locate a used one through an exceptional retailer.
The Big Eye Fresnel was made for K5600 Joker HMI constant lights, but I ‘hoped and figured’ I could adapt it to my strobes which are the Flashpoint 600 and 200 line of lights. The Big Eye comes with three different length 5/8” spigots to accommodate their 200, 600 and 800 HMIs which vary in height. By using a few standard 5/8” adapters I found the right ones for both the 200 and 600s both using remote heads on the various length spigots supplied with the Big Eye.
My next task was to follow my normal protocol of testing the quality of light for any modifier before putting it into my normal workflow. I was fortunate to find a theatre set and a beautiful actress where I could not only test the quality of light, but the focusing characteristics of the large 24” Fresnel lens. Long story short, I could not be happier with the instrument and its conversion to strobes.
As shown in the two following images I am able to use both the AD200 and 600 strobes with their remote heads in the Big Eye.
In order to have some sort of modeling light when I use the 200s I purchased a Lume Cube Air and simply mounted it to a steel bracket I made which affixes to the AD200 remote 1/4 20 threaded hole. The Lume Cube Air comes with an embedded magnet on one side of its case. Although it’s not exactly centered when mounted on the lighting fixture, who cares! And I can control the Lume Cube from my phone via Bluetooth. Perfect for my needs.
I am able to use the AD600 remote head as well. It can be used both in the normal bulb horizontal position or in this case the vertical position. I made a little DIY reflector when I want to use it in the vertical position out of a biscuit cutter….. I just cut it in half.
I was fortunate enough to be allowed to use this set to test my Big Eye between show performances.
Please note that all of the imagery of Catherine was shot using the AD200 set between 1/32 and 1/4 power levels. There was no need for me to use my 600. All stage work lights remained on throughout the session. My Pentax 645Z was never set to HSS. All images shot at 1/125th shutter speed.
I first balanced the Aputure window gobo light….
And then the Big Eye as my key light….
First to shoot lovely Catherine with just the Big Eye….
And then using both the Big Eye and the Aputure. I wanted to determine how much focus was needed in the Big Eye so as to not overpower the gobo light from the Aputure instrument.
We then moved to the bedroom set to determine just how finely the Big Eye could be focused.
Again adding the Aputure instrument for the window with the Big Eye fully focused as my key light.
And one more of the Big Eye in mid focused position.
Finally a more traditional use of a Fresnel on the chaise lounge. Three quarters flooded.
I will simply say that I am thrilled at not only the quality of light produced by the Big Eye, but it’s construction and design. I’m actually shocked that K5600 has discontinued its production, but happy that rental houses still offer them as rentals. If you are ever in the need to rent a fantastic Fresnel, don’t hesitate to rent a K5600 Big Eye Fresnel.