Light and Motion Introduces Stella Pro Interview Kit at NAB

Light and Motion introduced a series of new Stella light kits at NAB, including the Pro Interview Kit by cinematographer Barry Andersson.

Combining features of the company’s single point LEDs, Light and Motion said each Stella kit is designed to support capture of high-quality content for professional interviews, broadcast news and expeditionary adventurers. The kits are powerful enough for use in the studio and for on location live shots in the most challenging weather.

In collaboration with cinematographer Barry Andersson, Light and Motion will offer a kit that the author of the “DSLR Filmmaker’s Handbook" has been using for commercial and documentary interview work across the country. The Stella Pro Interview Kit provides battery-operated freedom in a studio-output lighting package that travels in a carry-on case.

"I don’t have time to waste on location – I want equipment that sets up fast out of the case so I can spend time on the creative side working with the talent to get the shot – not needing to run cords and cables lets me work fast and efficiently," said Andersson.

The Interview Kit includes: two Stella Pro 8000 RF Lights, one Stella Pro 5000 RF light, wireless remote, an array of compact portable modifiers, mounts and power options packed into a travel-friendly hard-case roller. The kit weighs 27.7 pounds.

Other kits are designed for mobile production teams and professional cine lighting.

You might also like...

Creative Analysis: Part 12 - Cinematographer Mark Kenfield On Zia

By sheer count of productions, the Indian film market is possibly the world’s largest for film in terms of admissions. On average, the country’s cinemas see more than 1.5 annual admissions per capita – and with a population of nearly 1.4 billi…

HDR: Part 17 - Creative Technology - Is RAW Really Uncompressed & Unprocessed?

It’s hard to object to raw recording. The last thing anyone wants is for the creative intent to be adulterated by unfortunate technical necessities like compression, and the flexibility of raw makes for… well. Let’s admit it: better gradi…

HDR: Part 16 - Creative Technology - LED Vs HMI

Big movies still demand big setups, no matter what anyone tells you about the battery-powered light they’re trying to sell. Battery-powered lights are wonderful, of course, even if we only use the battery power for long enough to walk a…

Creative Analysis: Part 10 - Cinematographer John Brawley On The Great

Cinematographer John Brawley finds himself happily amidst of an unprecedented renaissance of high-end television. The Great is a production that presents a lavish (if fictionalised) spectacle of eighteenth-century Russia, with Brawley photographing five episodes, with the remainder shot by Maja…

HDR: Part 15 - Using Vintage Stills Lenses For Digital Cinematography

In the mid-70s, Canon released the K35 series of primes, based on its then top-of-the-line FD mount stills lenses. It wasn’t the first or last time a set of glass elements designed for stills had been repackaged for m…