Home   |  Company  |  Dealers   |   News  |   Kino U   |   Support   |   Contact Us
 
Home > Archives > Imara DMX
               
         
 
Imara® DMX
Discontinued 12/2016



As of August 1, 2015, the Imara fixtures have been renamed Imara® S100 & S60 and reintroduced with universal voltage from 100VAC to 240VAC. The Imara® S100 and S60 are studio fixtures with the characteristics of the Image series, but with a more concentrated spread of light along both horizontal and vertical axes.  The Imara S100 puts out about the same light output as a VistaBeam 610, yet draws only 4.3A at 120VAC (2.1A at 230VAC).  The all-in-one Imara DMX fixtures also feature new levels of control by combining the benefits of lamp switching with lamp dimming making them ideal for film production, TV broadcast and digital photography.  Both models use Kino Flo’s True Match® high color rendering 55W compact lamps (CRI 95) available in tungsten and daylight. 

 

  Imara Features Include        
  • DMX and manual lamp dimming
  • DMX and manual lamp switching
  • Universal input 100VAC-240VAC
  • Auto terminate for DMX
  • Reflector, Louver and Gel Frame
  • True Match® daylight, tungsten balanced lamps
Available in Yoke Mount and Pole-Op
   
  Imara Highlights
  • Concentrated, broad, even spread of light on horizontal and vertical axes.
  • DMX and manual lamp switching/dimming enhance color and intensity control.
  • Universal input 100VAC-240VAC
  • Auto terminate for DMX
  • Honeycomb louvers in 90° and 60° focus, cut the light better than barndoors.
  • Yoke Mount or Pole-Op designs mount easily, improve focusing.
  • High output, energy-efficient technology boosts light output at low power, heat levels.
  • Low amperage draw means low energy costs.
  • Efficient heat management design maintains stable color temperature.
  • Compact, lightweight design for studio and for location set lighting.
  • Color gels last 10 times longer than when used with hot lights.
  • Fixtures take high color quality (CRI 95) True Match® lamps 3200K and 5500K.
  • Fixtures also operate visual effects lamps 420nm blue and 550nm green.
 
  Each System Includes:
 

 

Imara

The Imara series adds depth and variety to Kino Flo’s line of high output fluorescent studio fixtures.  Imara’s unique features, such as
a new hi-beam SoftCut reflector design, delivers a classic movie studio soft light that spreads light evenly across the horizontal and
vertical axes.  The fixtures are lightweight, operate coolly and run on very low power. How low?

The Imara S100 produces as much light as a 3000W tungsten softlight, but uses only one fifth the amount of power at 4.3A (120VAC) compared to the tungsten softlight at 25A (120VAC). Light level adjustments are controlled with DMX and manual lamp switching as well as DMX and manual dimming. Unique accessory holder brackets are designed for holding the gel frame and honeycomb louvers.  In addition, the accessory holder brackets allow for four-point rope hangs for specialty rigging applications. 

The Imara takes Kino Flo’s True Match® 55W compact lamps in tungsten and daylight (CRI 95), the same lamps that have achieved great success in Kino Flo’s Diva-Lite and ParaBeam series.  The availability of Kino Flo’s narrow band 420nm blue and 550nm green lamps make it an additional option for difficult to light composite screens.

   
 
  TV Studio lighting directors will appreciate the even field of illumination and high light level
along with the integrated DMX lighting controls. The Yoke Mount and Pole-Op options allow the fixtures to easily hang from a grid. The fixtures can be controlled from a lighting desk without the need of conventional dimmer packs. The savings in power make every studio manager mandate for energy conservation readily achievable.

Cinematographers welcome the Imara to their fold for its compact size and high output.
It draws half the amperage of a VistaBeam 610 at about the same effective light output.
Its flicker-free operation and voltage controlled electronics offer stable color rendering and
take the worry out of shooting at higher camera speeds.

DSLR still photographers who are now working with moving image capture will appreciate the cool operation and high light level in a concentrated evenly lighted area. The beam spread can be further controlled through the use of honeycomb louvers to create a very cosmetic soft edged spot. Digital image makers will be able to shoot in light conditions normally reserved for strobe lighting applications. As a professional cool light, Imara maintains stable color rendering over as much as a 12-hour shooting period without overheating the set or requiring excessive power.
   
 
 
  Imara Kits
 
 
  Imara S100 DMX Kits Imara S60 DMX Kits  
 

  KIT-IM100-120U
  Imara S100 DMX Kit, Univ 120U

  KIT-IM100-230U
 
Imara S100 DMX Kit, Univ 230U

KIT-IM60-120U
Imara S60 DMX Kit, Univ 120U

KIT-IM60-230U
Imara S60 DMX Kit, Univ 230U

 
  Contents
  1 Imara S100 DMX Yoke
  1 Jr. Pin
  1 Ship Case


(IMR-S100)
(MTP-I80)
(KAS-IM10-1)
Contents
1 Imara S60 DMX Yoke
1 Jr. Pin
1 Ship Case

(IMR-S60)
(MTP-I80)
(KAS-IM6-1)
 
  Dimensions
  44.5 x 11 x 35.5”
  (113 x 28 x 90cm)

  Weight

  62.5 lb (28.5kg)
Dimensions
31 x 11 x 35.5”
(79 x 28 x 90cm)

Weight

48 lb (22kg)
 
 
  Beam Spread Comparison
  To fully appreciate what the Imara Series presents, it is useful to compare its light beam characteristics with other well known
Kino Flo fixtures.
 
  The Imara S100 DMX utilizes a SoftCut reflector designed to emit
a bright, narrow, even spread of soft light. The edges of the beam are distinct. This concentration is useful in TV studios and photographic applications where the subject is localized and the spread of the light
is required to be more directed.
Imara S100 Open Face Imara S100 w/ 90° Louver    
  The Image 87 DMX uses a shallow reflector designed to emit a
very broad soft light. This fixture is useful for large area lighting allowing
the most flexibility in spacing from 5ft to 10ft centers. The Image 87 DMX is the most common fixture used for blue and green screen lighting as well as replacements for Space Lights.
Image 87 Open Face Image 87 w/ Silver Louver    
  The VistaBeam 610 DMX uses a parabolic reflector designed to emit
a narrow lateral beam. The edges of the beam are feathered, providing a gradual drop-off of light above and below the beam. This beam structure
is ideal for distance and as a raking far cyc.
VistaBeam 610 Open Face VistaBeam 610 w/ 90° Louver    
  Imara Fixture Styles
 
                          Yoke Mount                                               Pole-Op
  The Imara DMX fixture styles can be ordered as Yoke Mount or Pole-Op.
  The Yoke Mount
 
     Imara w/ Yoke Mount                   Yoke Assembly                       Junior Pin Assembly
                                                            (Included)                            for Yoke (28mm)
  The Imara S100 and S60 DMX with Yoke Mounts are ideal for studio or location lighting. The Yoke Mount is designed with two holes to allow the yoke bracket to be placed in one of two positions. The additional option is useful when hanging the units in a studio with a low ceiling.

The Yoke can attach to a stand or studio grid hardware via a standard junior pin or Junior Pin Assembly for Yoke (MTP-I80), sold separately. 
  The Pole-Op
 
        Imara w/ Pole-Op               Imara Pole-Op Assembly                            Junior Pin
                                                           (Included)                                       (Included)

  The Imara S100 and S60 DMX with Pole-Op, ideal for TV broadcast, include a yoke with an attached junior pin. The fixtures can be hung from a pipe grid and adjusted from the ground using a long pole.
 
  The blue cup alters the Pan (left or right) and the white cup alters the Tilt (up or down).
Pole-Op detail    
   
  Other Rigging Options
 
  Unique accessory holder brackets are also used for 4-point rope hangs for specialty
rigging applications.
     
SoftCut Reflector    
  The Imara includes a SoftCut reflector design that emits a high output concentrated beam of light on both the horizontal and vertical axes. This can be useful in applications where the light is
required to be more directed. The beam spread can be further controlled through the use of honeycomb louvers to create a very cosmetic, soft edged spot.
     
Honeycomb Louvers    
  The Imara fixtures include a 90° Honeycomb Louver. The Honeycomb Louver further concentrates the light beam without the use of barndoors. The specially designed metal foil louver focuses the light spread with minimal light loss. A 60° louver is also available as an accessory.
     
  The louver fits into the accessory holder brackets.
     
Gel Frame    
  The Gel Frame comes with Gel Clips to fasten the gel to the Frame.
     
  The Gel Frame fits into the accessory holder brackets.
     
Barndoors    
  Accessory Barndoors are sold in sets of four (BRD-IM10 or BRD-IM6).  The barndoors are designed so that they can be individually mounted.
     
   
BRD-IM10    
Imara DMX and Manual Control Panel

A)  DMX Dim Channels:  Sets the fixture to use 1 DMX channel to dim all 10 lamps or 5 DMX channels to control lamps in sets of 2.
      (Imara S60 has 1 or 3 DMX channels.)
B)  DMX Address:  Sets DMX address of fixture.
C)  DMX Indicator:  Lights if valid DMX signal is present.
D)  DMX-In & DMX-Out:  DMX-In receives signals from Dimmer Board.  DMX-Out relays DMX signal through other fixtures or
      instruments.     

Note: 
Each Imara fixture has an “AUTO TERMINATE” feature.  The last fixture that does not have an XLR cable attached to the
          DMX “Out” port will automatically terminate.

E) IEC Plug
Receptacle

F) Fuse
: Provides circuit protection.
     Note: If fuse is “blown” or “open”, replace with same type of fuse rating as marked.

G)  Power Switch:
  Turns fixture on and off.  Has built-in indicator light to detect if AC power is present in power cord. 
      “O” = OFF position.
H) Dimmer Knob:  Manual dimming control
I) Lamp Select Switches:  Turns lamps on manually in sets of 2.
     
DMX Operation    
 

The Imara features DMX control of dim levels as well as choice of all lamp or 2-lamp operation.

The Imara S100 uses either 1 DMX channel to dim all 10 lamps or 5 DMX channels to control/dim lamps in sets of 2.

The Imara S60 uses either 1 DMX channel to dim all 6 lamps or 3 DMX channels to control/dim lamps in sets of 2.

For more detailed DMX information, see the Operation Manual

 

Manual Operation    
     
The fixtures can be manually dimmed with the onboard dimming knob. Lamp Select switches turn lamps on and off in sets of 2.
     
 
  The Lamps
   
   
 

The Imara fixtures operate on Kino Flo’s True Match® (CRI 95) 55W Compact fluorescent lamps, the same lamps that have achieved great success in Kino Flo’s Diva-Lite and ParaBeam series.  With its proprietary chemistry, the True Match lamps are formulated by Kino Flo to match the spectral sensitivity curves of HD and digital film imaging equipment.  In 1995 Kino Flo received a Technical Achievement Award from the Academy of Motion Picture Arts and Sciences in part for the development of its color-correct line of fluorescent lamps. 

The True Match lamps allow the tungsten to mix seamlessly with regular studio quartz hard lights.  The daylight mixes seamlessly with natural daylight or HMI’s.

The 420nm blue lamps for blue screen and 550nm green lamps for green screen application are also available. The narrow band lamps provide an efficient light source for special effects compositing.

   
  Imara Advantages
 

Energy Efficiency

As with all Kino Flo products, the Imara is energy efficient compared to conventional studio fixtures. The Imara S100 produces as much
light as a 3000W tungsten softlight but uses only one fifth the amount of power at 4.3A (120VAC) compared to the tungsten softlight at 25A (120VAC).  This is especially important when shooting on location or in a TV studio and power availability is an issue.  The low power draw is also an advantage when operating on battery inverter power sources. 

Long Lamp Life

Lamp life of a fluorescent for the television and motion picture industry is determined more by its lumen maintenance than by its actual burn time. Although fluorescent lamps have a long lamp life, they display a lumen depreciation curve.  This means that over time the light output gradually drops and lowers in color temperature.

True Match® Color-Correct Lamps

True Match® lamps are formulated to correspond to the spectral distribution curves of film and video cameras as well as look correct to the eye.  They are designed to match the colors from quartz units or daylight sources such as HMI's.  This gives the camera operator the option of mixing quartz hard light sources with fluorescent soft sources.  Most lighting designers want the ability to use both qualities of light to enhance the set.

Architectural lamps are designed to optimize government-mandated standards for lumens per watt efficiencies (energy savings targets).  In order to achieve these standards, the lamps contain high levels of light in the green spectrum, which our eyes don’t perceive as inaccurate.  Film and television cameras do record this added green.  For example, green renders Caucasian skin tone as grayish and unattractive.  The architectural lamps do not match with other studio lamps.  They render colors inaccurately and make correction in post almost impossible.

In 1995 Kino Flo received a technical achievement award from the Academy of Motion Picture Arts and Sciences for the development of the first color-correct lamps for film.  Kino Flo continues to be a leader in the industry introducing new developments and constantly improving the efficiencies and formulations of its lamp technology.

DMX Control

There is an important practical advantage to the long lived lamps as well.  Once a fixture is rigged high up in the studio grid, it can be very difficult to maintain the fixture once the set is built below.  As a result, fewer lamp replacements in a hard-to-reach location translate into lower labor costs.  By simply mixing True Match® lamps in the Imara, lighting designers can produce a range of color temperatures using the remote DMX protocol without sending crew members to change out color gels. 

The versatility of the Imara allows the user to control/dim lamps in sets of 2.  The additional “Auto Terminate” feature senses the last fixture in the DMX chain to transmit DMX signals properly.   This can be a timesaver as it takes the guesswork out of knowing which DMX fixture is the last one that needs to be “closed” or “terminated” for proper DMX signals.

 

SoftCut Reflector Design

Tungsten softlights radiate light in a broad field.  Flags, cutters, skirts or louvers are needed to concentrate the light into specific areas.  With its unique characteristics and SoftCut reflector design, the Imara produces a high output, concentrated, even spread of light on the horizontal and vertical axes.  The beam spread can be further controlled through the use of honeycomb louvers to create a very cosmetic soft edged spot.  This concentration is useful in TV studios and photographic applications where the subject is localized and the spread of the light is required to be more directed. 

Heat Management Design

For Kino Flo, heat management is a critical design element of fixture design.  The physical heat of the lamp or the buildup of heat within the fixture will directly influence the color temperature and lumen performance and lamp life. 

The Imara fixture design addresses these requirements:

  • The reflector is properly ventilated near the cathodes (hottest spot) of the lamps.
  • The orientation of the lamps (with lamp bases up) keeps the cathodes cool and provides best color temperature stability and best color rendering.
  • The lamps are properly spaced apart to maximize light output from the reflector and minimize heat buildup.

A well maintained lamp temperature extends the lumen maintenance, color temperature and life of a lamp.


Yoke Mount and Pole-Op

The Yoke Mount is designed with two holes to allow the yoke bracket to be placed in one of two positions. The additional option is useful when hanging the units with a low ceiling. The Yoke mounted Imara can be mounted to a stand or hung from a grid using a standard junior pin or Junior Pin Assembly for Yoke (MTP-I80), sold separately. 

The Pole-Op Yoke already includes a junior pin and can be hung from a grid using standard studio grid hardware.  The Pole-Op offers an advantage of lighting from a grid eliminating the need for ladder access or costly automated rigging and hoist systems.  The accessory holder brackets add another hanging option which allows a four point rope hang for specialty rigging applications.

Cost Savings

Cost savings attributed to fluorescents cover a broad range of concerns:

  • Low energy costs
  • Less heat so low air conditioning expenses
  • No gel replacements because of low heat
  • Fewer lamp replacements due to longer lamp life
  • Lamp replacement labor reduced by a factor of 10

Energy Savings Calculations

With the push of reducing fossil fuel consumption, TV studios are looking at cooler, more efficient lighting systems to reduce costs and save energy.  One of the most important values is Btu/kWh.


British Thermal Units per Kilowatt Hour

Any light generates a percentage of usable light and the rest in heat.

For example, a standard incandescent light bulb converts only 11 percent of its electrical input into visible light, while the rest is dissipated directly as heat.  There are energy costs involved in cooling the studio environment.  The measure of Btu/kWh is a means of calculating the thermal loads related to operating lighting. 

Use the following information to calculate Btu/kWh:
Watts to Btu
1 kWh = 3413 Btu/hr
1 Watt = 3.413 Btu/hr
3.413 = Btu per Watt-hour

Example:  Imara S100 = 550 Watts
550 x 3.413 = 1877.15 Btu/kWh

 
 
Back to the top