Jump to content

All Activity

This stream auto-updates     

  1. Past hour
  2. Feli di Giorgio
    Maybe he was talking about the quality of the light from the bare bulb and 'texture' is just not a very good word to describe it. Sodium vapor has always felt very soft to me. Quartz hard. Frosted tungsten bulbs have a totally different quality than clear. One is soft the other hard. I've only ever seen one arc light in action, and it was pretty unique. Some of how we perceive it may be color temperature and spectral output. Also the size of the source. Something with a tight source looks different than a bulb with a big long filament. A big LED COB looks different than an array of smaller LED.
  3. Marco Andre started following WTB TVLogic 056W or 056WTB
  4. Marco Andre
    I've got one for sale that I will ship for free to Europe from NY. TV Logic 056W
  5. Today
  6. David Mullen ASC
    What we do as cinematographers is half science, half art, so I cut a lot of slack when people get vague about these descriptors, but pseudo-science bugs me when it starts to create an inaccurate impression of what is going on. It's a bit like the film versus digital debate -- we all recognize that film creates a different look but if we cling to vague feelings about that difference, rather than more measurable issues, then we can't solve practical problems in terms of look creation. Same goes for the tungsten / LED debate. Obviously there are differences both in color and in the design of lighting fixtures that can use the technology, but IF the goal is to get LED closer to tungsten, then we have to define the differences more accurately rather than just talking about out emotional responses. We have to break things down into their components of color response, specularity, intensity, spread, real-world response to conditions like temperature, etc.
  7. David Mullen ASC
    Joker 800 is the brightest HMI you can put behind a Source-4 fixture. I once asked ETC why they didn't make a Jo-Leko 800W HMI themselves and they said that the after-market conversion technically produced too much heat internally to pass things like UL regulations or their own heat ratings.
  8. David Mullen ASC
    That's fine, just define it. If it's not the color of the tungsten light you are responding to, then what is it outside of color? And if it's the color you like about tungsten then why refer to the color as a texture? To me, once you eliminate the color issue, then you'd define a light by its intensity, its beam variance, its specularity, etc. To me, texture implies a tactile quality, how surfaces are reproduced. I guess one could be poetic and talk about the tactile quality of colors... "juicy reds", "velvety blacks", etc. but it's not very measurable.
  9. Yesterday
  10. Phil Rhodes
    Describe those differences.
  11. Phil Rhodes
    Maybe we should set up some blind tests. I think if you put it on something like a Macbeth chart, a really good eye might just barely see it, but I'm not convinced. As to "texture," well... I also think that most people would miss the point by looking at the deep reds, whereas that's not really where modern LEDs actually fail. That little problem was identified and largely corrected early on.
  12. David Grauberger
    Ive used the Source 4 Ellipsoidal attachment for Hive Wasp 250s and really liked that functionality for my work. Wasps are roughy similar to 575w HMI. I'd like some more output from it though. Has anyone ever used the same S4 attachment on an arrisun, LTM or Desisti 1200w HMI? Seems like it should work the same but I haven't tried myself. Not sure if it would be too hot, although the S4s can handle 750w tungsten and Altmans run up to 1k, so they are made to withstand some heat... Heres a pic below of what the hive+S4 combo look like:
  13. James Compton
    Nah. Normally, I wouldn't take a stranger's word as truth without proof. Then the fella proceeded to show me photos of his home workshop where he built some of those fixtures, including a photo of him and Deakins together in front of the finished fixtures. It is not entirely impossible. Go figure. TEXTURE...yeah, I'll continue to use that descriptor. Quality of Light does not work for me in this instance. My eyes can clearly see the differences in light, diffused or otherwise. TEXTURE is simply the word that fits that vector of my perception. Phil and David are two deeply insightful industry professionals, whose posts enlightened many post members. This time, I respectfully disagree on the aforementioned topics. Cheers.
  14. Andy Jarosz
    The manuals of cameras always list the acceptable voltages. From the DSMC2 manual: The 6-Pin 1B DC-IN connector accepts DC input power from 11.5VDC to 17VDC Ursa Mini Pro: 12 V to 20 V
  15. David Mullen ASC
    In the 50/50 situation, I'd meter the sunlight with an incident meter and then open up one-stop from the reading. What I mean is that the difference between the two scenarios is probably about a stop by the time you're done. For example, let's say that in the 50/50 situation, the sunny area meters to an f/8 (assuming ND is being used) and so you shoot at an f/5.6. In the second situation, let's say your shade meters at f/2.8 so you shoot at f/4. So that's only a stop different from how you'd shoot the 50/50 situation. I find that in general in parks like this, I'm riding the f-stop only about one-stop to adjust for when it gets brighter and darker, unless the actors move under heavy foliage and it's more like a 2-stop adjustment. You don't want to overdo the stop pulls. But with film, more of its latitude is in the bright areas, so if you are going to err, err on the side of more exposure.
  16. Marek Budzynski
    Great video. You must be so pleased that's it's working. I haven't had a chance to work on mine yet. I'll post a video on Youtube when I sort it out. Well done. Cheers
  17. David Mullen ASC
    Stuart, I think Phil was just objecting to the term "texture" when color is really where tungsten shines. What does texture mean? Specularity? That's the only time I use the word, when describing a soft light with specular qualities, like when shining a light through a fabric with a loose weave, or sunlight through a light silk. I call it a "textured soft light."
  18. David Dominguez
    So I got it repaired by a local camera tech . He said the gate was a slightly too big and caused the left to right jiggle so he replaced it. He said he's seen that problem with newer model bolexs I'm going to run another test roll when I get her back
  19. Grayson Arias started following 12V vs 24V Power Options for Modern Cinema Cameras
  20. Grayson Arias
    Hey all, This may seem like a dumb question, but I was wondering if it is possible to power a 12V camera (i.e RED DSMC2, Alexa Mini, URSA Mini Pro, etc.) with 24V power? I know there are plenty of camera platforms that require a minimum of 24V (Alexa 65, LF, ETC.). I was considering using the new 26V Anton Bauer Dionics for powering the camera because of their large capacity. Is this a bad idea? Or will the battery plate on the camera/the dionics self regulate? I would love to know more about powering cameras and accessories safely and effectively. Thanks!
  21. Stuart Brereton
    But Phil, Tungsten looks better. It just does. Is this an opinion? Yes. Can I provide evidence? No. Will I argue this point forever? Absolutely. 🙂
  22. Anthony J DeRose started following Bolex H16 EBM Electric S16mm Prism Light Loss and Exposure For 16mm/35mm
  23. Anthony J DeRose
    Thank you. In the 50/50 scenario when you say - I'd meter the sunny areas and open up a stop to make the sunny areas feel "hot" -- which is probably only one stop different than the first scenario Is that one stop difference referring to the stop on the lens? Or is it a stop difference in the highlight readings?
  24. Anthony J DeRose
    Hello, Does the Bolex H16 EBM Electric (converted to super 16) still have a light loss from the prism requiring you to open the lens 1/3 of a stop for compensation. I know the shutter is 170 as compared to older models and wondering if the viewing system changed in this model. Playing around with it over the weekend, filter package I have is ND2, 4, 8 if I recall open up 1 stop for ND2, 2 stops for ND4, 3 stops for ND8. Thanks
  25. Volker Bendt
    Hello Francesco, please let me know, if you are interested in an Schneider Aspheron Ultrawide lens. It's size III for Variogon and Optivaron lenses, screw mount 62 and 67 mm. Cheers, Volker
  26. Phil Rhodes
    The first Source Four LED lekos, called Lustr and Lustr+ by ETC, are about 120-130W, so they would be expected to be less powerful than the 750W HPL. The LED advantage is something like four to one, not six to one, unless you want to take into account colour filtering. The more recent Series 2 Source Four LED, specifically the white-emitting daylight and tungsten versions, exceed 240W and should be measurably more powerful than the HPL. Nothing currently outperforms an 800W HMI in a source four leko shell; the power density is enormous. However, we are about to see LEDs in the 600-watt range start to become available. Aputure have been showing prototypes of a 600-watt LED compatible with their "spotlight mount," which is a Bowens-mounting leko tube that I think actually has better optics than the actual ETC product. LED may have a small efficacy advantage over HMI, and the combination of the 600-watt LED and lens tube may approach the performance of an 800-watt Joleko.
  27. David Mullen ASC
    I still find that the Source-4 Leko, both the 750w Tungsten HPL and the Joker-800 HMI version, are brighter than the LED version. So I only use the LED version when I need a dimmer daylight Leko bounce for ambient fill (scrimming, and even worse, gelling the HMI Jo-Leko is tough due to the heat.)
  28. aapo lettinen
    Just a quick update of my working process in case someone is interested. This is basically what I am doing hours and hours and hours at a time. https://www.youtube.com/watch?v=G0fGxUU3NB4 Writing new software or making small changes to the old one. Then uploading the altered program to the Attiny85 microcontroller, transferring the controller to the testing area on my kitchen table and installing it to the breadboard. Then running the motor with different speeds and friction settings and measuring how the speed lock behaves. Then going back to the computer with the results and repeating the process. I wrote a completely new phase locking code just couple of days ago based on all my previous designs. Works pretty OK now. There is also the 240Hz reference oscillator with dividers in the video.
  29. M Joel W
    Thanks. I've had similar experiences with NDs but I've read other people have had issues with some less expensive Schneider filters. The Misfit mattebox is at the top of my budget, so that makes that decision easier. What are the 6X6 matteboxes even for? I'm assuming 4X5.65 will be good for anything except ultra ultra wides and crazy zooms?
  30. Bruce Greene started following Perks to sticking with tungsten when shooting digital?
  31. Bruce Greene
    Tungsten lamps photograph very well for good color, with no surprises. The biggest issue with tungsten vs LED is speed of working. LED lamps can be adjusted for brightness using a dial or a remote. No need to climb a ladder to drop a scrim in the lamp. They can also be adjusted for color, avoiding time cutting and mounting gels. They are also lighter weight and easier to rig without light stands, as in back lighting interiors. And to add more speed, many can be powered by battery and save the time running and hiding cables. When time is short, speed often trumps color accuracy. Of course, when harder, more controllable light is needed, tungsten and HMI fresnel lamps are still used.
  32. Tyler Purcell
    I've been an Tungsten and HMI guy for years. I love experimenting with new things and a few years ago, I DP'd two industrial films back to back and on one we shot Tungsten/HMI and on the other, we were 100% LED, using a friends Arri LED kit. We had L series and Skypanels of various outputs and I gotta tell ya, I was very impressed. The first day we set them up, having never used them before, I was able to get the look I was after in some difficult mixed conditions (daylight bleeding into scene) and honestly, I was impressed. Where the output of the sources wasn't anything like that of a similar sized tungsten light, being able to adjust the color balance without resorting to gels and being able to run many sources off "house" power, were both incredible features. I was impressed with the light quality as well, it was the closest thing to Tungsten I've ever seen come out of an LED. I'm sad that show is the one I shot with the F55 because it's such a "cool" looking camera compared to Arri or Canon, but still I was able to do a satisfactory grade that didn't look completely like shit. lol 😛 Since then, I've shot with a lot more LED's and my experiences have been varied. I think that's part of the reason why so many people continue to prefer Tungsten because there are situations where it works great and situations where it doesn't. Tungsten always works great, there really isn't a situation outside of electricity and heat limitations, where it doesn't work. In those cases, if you have no choice, then you'll go for LED's. I think that's the power of LED, as an alternative to the mainstream solution. I'm still a tungsten guy. There is no denying that I probably won't buy LED's anytime soon and I'll continue to expand my Tungsten inventory once I have more space. You can throw up a tungsten light and it will be perfect every time you turn it on, just like shooting on film. Ya know for fact, the results will be what you expect in post, without having to really worry about the nuances that make shooting with modern tech so tricky sometimes.
  1. Load more activity
×
×
  • Create New...