For those of you who may have experience in the stills world, with parabolic reflectors like the bronze color or things like that, they give a really kind of sought after wrap around uh, feel of of light. Its often used for fashion, and things like this. First of all, its a six foot umbrella, uh that has a parabolic shape to it and what it allows you to do is to use a joker 800 or a joker 1600. You take the beamer or the front element of it off and then the the rest of the light fixture attaches to the back of this rod that inserts through the back of the umbrella, then the rod slides through into the umbrella and then theres a lamp holder On the end of that rod that that holds the um that holds the hmi bulb, then it has a protective glass piece that goes over the bulb and uh and then theres a little uh silver uh, like three inch piece of aluminum, its a disc that goes Over the tip of the bulb to keep direct hard light from the hmi bulb from uh encountering or striking the subject directly, so it it just gets bounce light off the reflector, which is what you would expect and what you would want. We ultimately ended up using the 800, but we almost didnt use the the thing altogether. Let me just talk about a few of the things that i liked about this and then some of the quirks so, first of all, it comes in this case.

Everything fits in there. It matches the rest of jokers cases. So you know you look at it immediately. You can tell its uh from the k 5600 company. It uses this yoke with a crank in it that allows it to tilt up and down. Basically, so you can control the tilt of the uh of the fixture with a crank, and it has a declination marked on the pivot point, so you can say: oh, this is 30 degrees. This is 20 degrees. Whatever one of the neat things is that by inserting or removing the rod that is holding the actual lamp, you can change the focus um you can either flood it or spot it and its a pretty neat thing to see, because it has like two or three Feet of travel, uh of that rod that you can move the lamp closer or farther away its a silver reflector, and it does seem to be a fairly well thought out system. You know it uh. It also does come with a tube that you can put any light on, but you know we were not totally impressed with the construction of it, its an expensive product, uh retails, for about 10 grand, i think, which is a lot for a fabric reflector. It seems like yeah, it has some specialty and proprietary stuff to make it work with jokers im. I have to think thats where the cost comes from, because theres nothing really that super inherently fancy about it.

We had some brown color product on the same set for stills work that was being done and i felt like the bronze color parabolics were significantly better made. They use a crank to open the umbrella and to tension the umbrella and things just seemed a little bit. Less thought out a little less robust with this, but heres the big thing, the thing that really is still head scratching to me – and maybe somebody has more of an idea on this. But what we found is this little like three inch, aluminum disc, that goes in over the end of the bulb. It allowed a huge amount of spill to come off this fixture, where basically the direct, either 800 or 1600 watt hmi globe is just pouring hard light out to the sides um. So if youre right in the middle of it, you dont get much of that its its okay, but if youre on a set of any kind uh, you just get this huge, bright, harsh raw light that just spreads out from this fixture in a circle where the Center of the center of the circle is, is not that nice, like parabolic light that youd be looking for, but as you move away from that center target, it opens up into this bright, harsh, hard light. So the gaffer and i on this project we uh were looking at it and were like just man that disc needs to be bigger, and so he went and got uh.

He went and got an aluminum pie tin. Like one of these disposable pie tins, you know, thats been stamped out of aluminum, it was probably eight inches ten inches. Something like that and also had a lip. You know like a pie. Pan does, and we found a way basically to cut some slots in that pan and then um sort of uh interleave it over the edges of that disc, to effectively make the disc much larger and keep it lightweight and aluminum and then just sort of as a Secondary we put some gaff tape on it, so any pinholes wouldnt allow light to come directly forward and that made all the difference it. It made it from a light. We probably werent even going to use into a light that really came in clutch and did the thing that we were hoping it would do yeah. I dont know what other people do with this light. These curved parabolics theyre, pretty sought after um, one of their main competitors, is whats called a breezy and thats uh thats a similar type of product. I think its even more expensive than the curve, but basically theyre both solutions. To give you like that, parabolic look for film applications that stills photographers using things like the bronze color uh, would use with this little modification id be excited to use this product again without it im seriously kind of at a loss to how this tool would be Super useful on a set with so much spill going on, so there you have it.

The k, 5600 curve 6 was the product and i think, with some adjustments, its really useful. I think it makes most sense if youre going to use it with jokers, though because thats, what its purpose built for, and i think, theyre, probably cheaper options that are as good or maybe even better.

https://www.youtube.com/watch?v=stHF0BWd2cU