New video lights

[Ian Hicks]

I use a GoPro 9 and generally shoot in 4k, 60 FPS using 16x9 display. Most of the diving takes place in the UK at depths of 20 to 45 metres. I make scenic and wreck dive videos.

For 2021 to 2023 I used a pair of Divepro 9,000 lumen lights. These have been terrific. In 2024 I bought a pair of Divepro 18,000 lumen lights. These have also been very good. However one of these has failed. The UK supplier has agreed to replace the light head as clearly a manufacturing issue. But I am still waiting-5 months. The issue appears to be Divepro as I know the UK supplier fairly well.

I have been experimenting with using lights for backlighting. This video should show you reasonably well 

I have a couple of options:
Buy some Keldan lights. Use the 9,000 and single, 18,000 lumen lights for back lighting. Ouch at the cost!
Buy a pair of 18,000 lumen light. Possibly Kraken Hydra. Use the Divepro lights at back lights.

I dive at Scapa Flow a couple of times a year. I know that using the 9,000 lumen light to light up the rudders on the Markgraf wreck is not sufficient. But a pair of 18,000 lumen lights should do the trick.

I am open to other suggestions. Thank you for your help.

[Davide DB]

Hi Dave,

 

I too have a pair of old Divepro 15k or 18k, I can't remember. I got them as a gift from a friend who no longer dives. The buttons broke and Divepro didn't even respond to emails. Lights were bought directly from them. I find the quality very bad. I was able to fix them here in Italy but now they have a simple ON/OFF button. So for me this brand is to be discarded.

The Kraken seem to be of a good standard. The light seems to have a very good CRI. A whole different story compared to the Divepro which had a very bad light compared to my Keldan. If you have a chance to try  Kraken out in the store, check the sequence of switching and power adjustment. I find that some brands have very bad ergonomics.

I see that your videos are shot in challenging conditions. I'm not sure that increasing the lumens solves your problems. There is a whitish halo due to backscatter at the lights. You might try positioning the arms differently or lengthening them (I write without having seen your setup). Increasing the power in this condition I am afraid you would make the situation worse. 

 

P.S. Keldans are great (and very expensive) but I don't think they make a difference in these water condition.

 

[Proteus]

I have a pair of Kraken 18K lights for sale in the classifieds forum.  Never used.  I'm on the verge of just putting them on eBay, but I'm trying here first.

 

Open to negotiation ... might ease your pain a bit!

 

Gary

[Ian Hicks]

On 12/7/2024 at 12:33 PM, Davide DB said:

 

I see that your videos are shot in challenging conditions. I'm not sure that increasing the lumens solves your problems. There is a whitish halo due to backscatter at the lights. You might try positioning the arms differently or lengthening them (I write without having seen your setup). Increasing the power in this condition I am afraid you would make the situation worse. 

 

I have 12 inch float arms and 11 inch arms to hold the away away from the main camera frame. So the lights can be over four feet (1.2 metres) away from each other. This reduces but can never totally eliminate backscatter. I have seen Keldan lights being used up in Scapa Flow, hence my interest.

I am hoping that the bigger lights will allow me to capture larger objects such rudders and casemate guns on the battleships.

[Davide DB]

Okay, you are already using long arms, so you can try to position them better.
I like the idea of the back lighting. I'm a big fan of additional lights carried by the buddy. Of course you have to have a cooperating buddy. If you find yourself with two extra powerful lights, now is the time to try it.
The idea is that the camera lights fill the scene as needed, but the main lights are in the hands of the model/buddy. You decide the amount of fill light. You get wonderful effects. Even a “normal” shot gains a three-dimensionality that would otherwise be impossible, and on wrecks it creates a lot of atmosphere.
Another advantage is that by having the lights away from the camera, you do not have backscatter!

The first to use this technique extensively was Roberto Rinaldi, who made it a distinctive element of his filming. Almost a signature. The effect can be seen in many of his films and in those of Laurent Ballesta.

 

I tried several times. I haven't reef shot with this tecnique online but I could search if interested.

here a couple of old video I have online, It was the first time I tried them with the buddy so it could be done better: