Jump to content

Jaron Berman

Basic Member
  • Posts

    206
  • Joined

  • Last visited

Everything posted by Jaron Berman

  1. Steadicam and similar systems are called "inertial stabilization" - inertia is the tendency for an object in motion to stay in motion. Inertia is directional - meaning that if you're moving the camera quickly straight down a hallway, it'll keep wanting to go that same direction and it will resist going in other directions. That "resistance" is what you're calling smoothness because it's resisting extraneous pans/tilts/rolls and translations in space. Now the amount of resistance to extraneous motion you get, the amount of "smoothing" you get is proportional to both the weight and speed of the rig. Some super basic physics - P=M*V P= intertia M= mass (weight in this case) V= Velocity (speed) The reason it's important to understand that simple equation is because you know what you're up against in simple physical terms. Inertia = Weight multiplied by Speed. Which means that more weight = more inertia. Just as more speed = more inertia. More weight AND more speed = even more inertia. And with a steadicam or any other stabilizer that relies on inertial stabilization, more inertia = more "smoothness." A very heavy rig moving quickly will be pretty easy to make smooth shots whereas a super light rig moving very slowly will be very difficult. If you want to get more into steadicam, light rigs are excellent practice because they teach you to use as little input as possible to control the rig. The whole purpose of a steadicam is to isolate all your "bad" movements as much as possible from the camera while allowing fine control of it still. The reason some brands (tiffin, pro, mkv, etc) are so expensive is because while the physics are simple, machining parts to tolerances tight enough to truly isolate movement without friction/stiction is difficult and time consuming = expensive. Long-winded response but back to the OP question - more inertia or less over-control from your inputs. Inertia makes the rig want to behave so your own inputs need to be tamed (practice).
  2. A good place to start may be with night. Nighttime is super colorful, but just because you can crank most cameras up to 8000iso on a fast prime doesn't mean you don't want to supplement/shape the light. Take some night photographs in different environments - maybe a downtown area, a parking ramp, a dive bar interior, alongside a road - try to find different environments that "feel" interesting to you. Take photos both in focus then completely out of focus both of the lit environment and of the sources - so the sources grow and look like color fields. With your swatch book, see if you can match gels to the colors you see from these environments. With those gels, you can "extend" the light coming from things like neon signs, street lights, car head or taillights, etc... Having some feeling for the gels you can use to match your lights to environmental practicals is a nice start. Obviously you're not tied to "reality" - you can be as expressive as you want. Use party gels, why not? But starting from "real" sources is helpful.
  3. All good tips. Haze doesn't show up too much in front light unless it's super dense, so it's less of a concern in terms of being in front of your subject. Backlit it will show the direction and shape of sources - your windows in this case. Keeping it even is incredibly difficult, especially because the good haze machines tend to be pretty noisy - so between the time you've hazed the space and let it more-or-less settle evenly, you get about 5-6 minutes in still air where the effect looks good and similar density. Longer than that it starts to thin, before that it may be too dense or have too much motion. David Mullen did some stunning work in Astronaut Farmer with haze.
  4. https://www.bhphotovideo.com/c/product/1088060-REG/kessler_crane_ac1001_100mm_ball_relocator.html or make a hi-hat base with holes spaced for the clamps where you need them. I made a base for one of my hi-hats to fit Atlas Truss bolt spacing so for "ladder" work I can use truss instead. Super useful to be able to use cheeseboros on a hit-hat base, so it may be more useful to have that style than the "custom" style in terms of getting out of tricky situations later (including "turns out we do need a hood mount" situations")
  5. Yeah most chimeras use some variation of grid, but their Litepanels specifics have some crazy plastic sorta thing that I can't match to any material I know- like Edward mentioned it's like a heavy vellum. Good eye on the Zircon, will have to try it. Thanks!
  6. This actually brings to mind a question I've had for a while - is there a rosco/lee product similar to the material chimera uses on their LED boxes? I've side-by-sided against opal, 250, hampshire and it's no rough match to any of them. The chimera material looks like a prismatic to me (like the materials ETC sells for their led units), certainly more diffuse with less loss than any of the usual suspects so I'm interested if anyone knows a similar roll material?
  7. I do this ALL the time for colored cycs. I much prefer to paint a gray paper than to swap papers for every color - as long as there's space to make separation so I'm not getting crazy color bounce (which would also happen to some degree on colored paper). The advantage to LED units (with some control) is the ability to use HSL color - hue saturation luminance. Pick a color, set the saturation, then adjust brightness. Skypanels (or any other RGB or RGBW/A w/ a DMX controller) can be controlled this way as well. The example I always point to online is the OK GO muppet video - they do snap changes that look like CG, but are just lighting cues on their cyc wash. Those are ETC Desire D40 fixtures, but literally ANY flicker-free RGB can do it. Most LED have a simple control mode that uses 3-4 channels, so you can rent with them a basic controller that has no learning curve. DMX can seem intimidating but rental houses can generally steer you into the simple mode and help you daisy-chain them so for very little money you can get some very fine control over your cyc wash.
  8. You're still thinking in "white" lighting terms - 10000K is still referencing a "white" point of a black-body radiator. True, the sky panel can do whites up around 10000k but that's still using it's white feature. It can do colors as well, including saturated blues. And for that matter, so can all RGB LED units. Look at rental houses that do touring lighting for concerts - Colorblaze 72's are 6' long batten strips and even without a DMX controller you can set them to do jewel tones no problem.
  9. Well it's night - so to differentiate between day / night especially a space without windows you probably don't want the overhead lights on anyways. So if you can justify (even to yourself) a few places that light would be coming from after hours then you can start with those and "extend" or stylize from there. Maybe there's a security light in a hallway off to the side? Maybe an emergency exit light. Maybe a soda machine? These things all make light in real life, even at night - so you could justify that they would throw a little and help shape some details in the foreground while you track. You probably don't want to flood the space, just shape some of the architectural or furniture shapes to give cues of what it is. And for your subject - desk lamp nearby? A strong sense of light near your subject will draw the eye to that portion of the frame while you move through the space and help set the tone that it's dark elsewhere. The light doesn't have to "hit" your subject either - it could bounce off a desk or hit the wall and silhouette your subject - you have a lot of options aside from just top or front lighting.
  10. Skypanels are but one color-changing tool. As soon as you say "dmx" you open pandora's box in terms of options. Skypanels are basically fancy zips, and some people indeed wash cycs with ziplights. But there are also plenty of "entertainment" fixtures that can do everything you want easier and significantly cheaper. Part of the cost of the sky panel is the built-in calibration. When you dial it to 3200k its relatively close to 3200k and with good color fidelity. An entertainment fixture may or may not have a preset for 3200k and may or may not have color fidelity for skin tones. BUT it may also have a lot more power or other features like zoom or movement, and may also cost less. For example - I often rent Robe Robin LED 600 Wash lights, and 4x of them are cheaper than 1x sky panel 60 at my rental house. The robes are moving lights with 15-60deg zooms. Roughly the same power and significantly more output when zoomed-in. If you can't place and aim them well enough in the first place, you can sit at your board and move and blend till you're good. But that's just one example - color blasts, color blazes, TRX, spectracycs - all ubiquitous at touring rental shops like 4wall or VER, and significantly cheaper than sky panels. A single color blaze72 is 6' wide. 2 can do what you want with plenty of power. 4 can do it even better - and again - 4x color blaze 72 are significantly cheaper than 1x sky panel. Now I do love the skypanel, BUT I find that a lot of times its used because it's a familiar brand and a popular item - not because it's necessarily the best or only way to do the job. For simple cyc wash on a budget, make some calls to touring/concert/event lighting shops and see what you can find because all of the high-end stuff is flicker free and you may be blown away by what is available in that world in terms of featured and performance for the price.
  11. so many ways to do this. Adrian is correct - without the need to make it work for VFX, perhaps the simplest solution is the easiest? Here are a couple. 2.5 minutes is 150 seconds. Can you move the camera 12.5 ft?? If so - just lay out a tape measure on the floor next to your dolly track and make a little pointer on one of the wheels. Move the dolly 1" / second. Done. Slightly tougher - tie a pulley to the end of the track and another pulley 10' up on some sturdy object. Hang a weight on the end of a rope such that it pulls the dolly roughly 1"/second. I've done this with a slider and c-stands to achieve a diagonal move, works great.
  12. well a point source will throw a hard shadow - so the smaller the point the sharper the shadow. As for shadow size on a background wall, you can figure out where/what angle - it's trigonometry. For simplicity sake, let's pretend the light source is completely flush with the floor. There are literally infinite places to stick a light to get a "comically huge" shadow - so let's hold some values constant for the example. Let's say you want to throw a noir shadow of an actor on a wall. Your actor is 6' tall. And you want the shadow to be 12' high (6' above head-level). Let's pretend you can cut into your floor and put a point-source light at floor level exactly. So to figure out where to place the light, trace from the top of the shadow where you want it to be (we said 12' high) to the top of the actor to the floor. That point will be 12' away from the wall. You've made a 45-45-90 triangle - the legs of the triangle are equal. Bringing the light closer (still on the floor) makes the shadow bigger. Raising the light from the floor will make the shadow lower (but not technically smaller). So for a shortcut - start with the light 2x as far from the wall as the object is. That'll give you a shadow 2x as tall as the object - though the light must be even with the base of the object to see it "head to toe" and double height.
  13. I think you'd be surprised by how similar most cameras CAN look when put through a good grade that aims to find a good compromise between the cams vs. trying to set and forget one and match the other to it. Meet in the middle, especially if you're able to build your LUTs from scratch with the creative constraint of differing camera systems in mind from the get-go. Shoot log charts (gamma and density makes a great set of charts) and play with the grade a bit to see where they overlap and where you start stretching things. But finding common ground between two high-end cameras isn't particularly difficult, should be no issue. Using each mfg's rec709 LUT will make things seem impossible, they take radically different routes to make the "normal" image, but I assure you there's plenty of data there to get things really close. SLOG-3 and Canon LOG2 are almost identical up to middle gray, and Canon LOG2 is more similar to SLOG-2 in the highlights...so I personally would start with SLOG-3 on the Sony and stretch the highlights upward on the canon to match. That'll get you most of the way to matching curves.
  14. Agreed, Goyas/X's are beautiful. Also k5600 blackjack and alpha also have excellent super crisp shadows. I actually bought the blackjacks years ago for that reason.
  15. Have diverse interests. Film/TV/Media doesn't exist in a vacuum. Tastes and trends and techniques and equipment all change, and not at the same pace in every corner of entertainment. Having a deep curiosity helps keep things fresh - there is ALWAYS something to learn from someone or somewhere. Ask good questions, and also know where/how to find information. This is one of those skills a lot of people credit to their college experiences. A ton of technical information is now available online (including a lot of bad/inaccurate info as well) - so knowing where to look can help save time and provide endless threads to pick up. And because so much technical stuff is online, it means you can do a lot of the deep-dive research on your own and make the best of peoples' time when you get it. Let's say you have 2 minutes with Roger Deakins' undivided attention and interest. What would you ask? It's probably a waste of an opportunity to ask him a technical spec question you could answer online. Learn to take criticism. This is a lifelong process, and a VERY important one. The "industry" is structured in a hierarchical way, and sometimes you have to take notes and adjust to criticism that feels wrong but you must take based on the ladder of seniority. The ability to take constraints and criticism and turn them into better work is what separates those who continue to work from those who do not. And good criticism can come from anywhere if you're willing to hear it. You do not need to respect someone's work in order to respect his/her opinion, and this is a very very very important point. If a critique is right (ego aside) then it's right, no matter who it comes from. Work with and for as many people as you possibly can. I really enjoy asking people about their "origin story" because it's such an unpredictable result. We come from all sorts of backgrounds and experiences and problem-solve differently based on those experiences. In the beginning, everything is new and exciting. But after a while it seems that there's a way things are done. And people do things the way you'd expect...until they don't. That difference or that trick is worth noting because it may help down the line - either as a great trick or a cautionary tale of something to avoid. There are much easier ways to make a living than this - so make sure you love it! No matter how good and how charismatic you are, you will hit setbacks and you will fail and you will have your feelings hurt. You'll be in over your head and you won't know the answer and you'll struggle while people around you succeed - deservedly or not. It comes back to loving what you do. (almost) Everyone starts at the bottom. Film school or not - you will start at the bottom which is a GOOD thing. Be prepared to work hard and take pride in doing your job well, whatever it is. Are you driving the van? Do it well. Are you getting coffee? No joke - don't be a jerk about it. A lot of peoples' opinions of you depend on snap judgements, so "handing out your business card" for the job you eventually want while not actually doing the job you're in won't lead to success. Do good work, whatever it is at the moment. That's not saying to have no ambition. Not at all. KNOW what you want to do, try to ask questions and be helpful in a way that leads you in that direction. And if you do a great job, it's likely that the people around you will ask what you aspire to do - and they'll take you under their wing(s). As for school... I personally went to engineering and art school - not film school. I'd say the industry is pretty split between those who went and those who didn't go to a film program. The advantage I've seen from my colleagues that went to film school is that they came out of school with a solid community of trusted peers with whom they could collaborate. Finding people you like working with takes time - so school can help that process. Why would you vouch for someone you haven't worked alongside? And visa-versa. Aside from the technical knowledge, school can help build your reputation and help you find collaborators. None of this has any specificity to the craft of camerawork. It could apply to almost any creative endeavor - and that's an important point. This is a creative field and also a business. There's give and take between them, and being successful means trying to best balance creativity while making a living.
  16. Scrim Jims are fabulous. I was incredibly skeptical the first time I saw them like 15yr ago - they're very weak looking, plastic corners... BUT the clever aspect is that they're basically "unibody" meaning that each element helps strengthen the other - so each element may be light and weak but together it's quite strong. Since then, they've updated and strengthened the system quite a bit, but I had no issue back then - and even in some moderate wind outdoors the system worked quite impressively. Lighttools makes egg crates, rag place makes custom rags - it's a pretty flexible system overall and sort of unique in the amount you can do with a system that fits in a tripod tube. Now, something bonus is that the westcott led panels are compatible with their scrim jims, so when you are in "the system" it's all legos/tinkertoys and you can build some really interesting stuff. A friend of mine has a bunch of 1x2 wescott flex mats, which build up to a 4x4 VERY bright panel - using scrim jim hardware. He builds a quasi-booklight using the hinge corners, super low-profile, super bright. Anyways - it's a great system. If you need panels that are portable and light, I have never found anything that does what the scrim jim does as cheaply or flexibly. No reservations, no matter how weak it looks - it all comes together. And replacement parts are available - so every 5yr when you snap a corner or bend a tube you can replace it.
  17. https://www.bhphotovideo.com/c/product/258842-REG/Kino_Flo_EXP_LHC_T12_Lamp_Holder_Clips_for.html Those clips are very handy, secure and cheap to have in a kit. I'm currently working on a show that uses Quasar tubes in-shot as design elements, so we cannot use those particular clips because they reflect. Our high-tech mounts are 1/2" shelving tracks with bolts through them. The tubes are taped to the front of the U-shape channel and the bolt runs out the back to a grip knuckle. Simple, super clean, flexible. The quasar are nice because they barely get warm whereas kinos do heat-up, so something to be aware of.
  18. It's not so much about the lights as the control. Pretty much any LED fixture (or conventional) can do a flame chase if the controller can do it. Magicgadgets can do it with conventional dimmers (or dimmable LED) . Any moving light DMX system can do a flicker chase, but the REAL cool effects are when you can use any RGB or greater fixtures as "pixels" and feed actual video of fire into the "screen" you've pixel-mapped. I've done this using 8x cheap DJ wash lights and a simple (free) media server - playing video of actual fire. It's a very realistic effect. Most moving light board mfg offer some simple media server, I use Chamsys, and the learning curve isn't easy but it's worth it for the control you can get even on Skypanels to be able to fine-tune the parameters of the fx.
  19. It's a good fixture - these are my measurements (Sekonic C700) Aputure COB120T Tungsten RA: 98.2 R9: 89.3 CCT: 2931 Input Wattage: 135 Price: $595 Impressive color and flexibility, however once you add the fresnel lens etc... - it's still a 120w fixture ~ 500w tungsten. And you're within spitting distance of the price of the Mole 200w Varimole which is a better fixture overall and more flexible in terms of color. BUT you're right - there are advantages to the Aputure, namely the modifiers. You can use it in all the bowens mods, which can be useful especially if you already own those.
  20. Use it to your advantage the way you use wratten filters to enhance certain colors in B&W. There's a great ASC podcast about the movie Nebraska where Phedon Papamichael does exactly what you're talking about. He dives into the politics of doing it as well, and the importance of having people in positions to fight for those choices when they inevitably ask to see it in color (though you shot it while lighting/filtering to your b&w lut). http://www.theasc.com/site/podcasts/nebraska-phedon-papamichael-asc/
  21. I fear I've completely derailed the initial post by bringing up the myth vs. reality of sky panels. Oops. If you currently use 2k zips or small chimeras and wish they drew 1/4 the power or were color-adjustable and slimmer, then boom- skypanel. I forgot to look before, Alexander (op) is located in LA. Go to mole and play with their fixtures. They'll lend you a meter and happily stand behind their product. Some of the nicest people and they have nothing to hide with their fixtures so any questions regarding their performance they'll answer. Always best to see for yourself if something's going to work for your needs.
  22. Fair, then I think the best plan is to work backwards from the final product. What formats are you delivering right now? What is your post-production pipeline, and how quickly do you need to turn around the projects? Do you need to deliver 4K in this initial investment? How will your footage be archived and managed, and is that part of what you need to spec-out? You'd be shocked, but even on the absolute highest-end productions, amount of data is always a consideration and expense. Shooting 6K to protect for a future your company may not be around for? To be honest, it's a sign of professionalism that you can look ahead at contingencies that WILL absolutely happen - it'll show your investor that you're not Christmas shopping, you're trying to partner in a business in a way that at least tries to be successful. Presenting a list that comes in under-budget and allows for contingencies may actually help your case. When will the next investment happen? How often will you be able to rent above and beyond the infusion? Ask these questions now, because they really help you put together a more accurate list of what you need to actually own and plan for the stuff you can't own. Knowing what stuff to own and what stuff to rent is a valuable aspect of your proposal too. Also you have expendables on that list - are you supposed to budget expendables? If so, which? You have gel, so why not tape? Hard drives? Cinefoil? Then in terms of projects - especially with someone else's money, it's worth asking what kinds of specific projects are coming down the pipe in the first few months. Setting yourself up for the work you'll actually be doing is a lot smarter than buying stuff for the projects you don't know about or hope are coming. Ask your investor and partners as many questions as possible. What kind of commercials for what kind of businesses? What kinds of narrative films? The list shown seems to be a what's what of internet research, not necessarily anything you've actually used and loved in any specific capacity. For example, an easyrig to lighten the handheld load, but an FSB8 tripod? If that tripod can handle your camera package (it cannot), then you don't need an easy rig. Also, will your clients be on set ever? Will your investor? If so, a single 7" onboard monitor will not cut it. Start with the mandatory things based on the discussions with your partners. Do you need to show the client your work while shooting? Mandatory. Are you responsible for archiving footage? Mandatory. How will you treat audio? Not every project will be MOS, but will you be asked to grab a quick interview and record the audio yourself? Do you have a local partner/vendor for that? It's mandatory. Will your client be on set for that interview, watching your shiny big monitor? If so, how will she/he listen to the content? Once you've budgeted for the absolute mandatory items and you've figured out a complete workflow ask yourself - In your career, what items do you find yourself constantly needing on every single project? Budget for those next. It sounds like the plan here isn't to rent to other companies, so you have a lot more flexibility in terms of brand recognition. If you've tested and liked some cheaper lights from other manufacturers (Ikan, Aputure, etc) - then you may not need the clout of Arri. Kinos are super useful and available cheap on the used market. You may be surprised, but Kino 4' tubes still outperform most LED panels in terms of output and color accuracy, if not dimmability. Does that compromise make sense in order to get 4x fixtures instead of 1x? The beauty of this industry is that it has so many facets. We aren't all fighting for the same gigs in the same markets at the same budgets. Which means we all have very different ways of approaching and solving problems. Which means that if you solicit equipment buying advice from the internet, you'll get a whole lot of opinions that fit our own experiences - not yours. Not to say the advice is bad - there's a lot of very good info here, but in the end YOU are the person using the stuff to satisfy YOUR clients, not ours. And if you haven't used a particular piece, rent it for a day, rent all the options that fulfill that solution and try them yourself. Setup a test shoot and rent all of the stuff on your list and see if you like it. If you can't get some of that stuff locally then perhaps it's not the best stuff to own because you can't rent another and you can't replace yours in a pinch when yours is broken. But test test test, hands-on. Setup all of the likely scenarios your investor throws at you and make sure you know how to tackle them - and take notes on what you wish you had or had more of. The sum total of renting all that gear for a day or couple days or a week will more than pay itself off in the long run when you do invest. At least your proposal will be based on the gear you've used and your own opinions and experiences of using it under time pressure, not cinematography.com reviews. Try before you buy. Your investor will hopefully sleep better at night knowing that he/she has seen you work successfully with the list you submitted.
  23. As someone who owns a stupid amount of gear, let me share some very important lessons. 1) Do NOT spend any money until you have it coming in. Unless you have enough work BOOKED, any money you spend on gear you're spending on a hobby and dreams. When you have a viable plan to pay it off fully, then buy it if you think you'll want it in the long-run. Don't forget - buying means you must store and maintain. And NOBODY will rent your broken gear or incomplete gear when they can get it elsewhere in great shape for less money. Which leads to #2 2) Owning gear puts you in competition with vendors you will need. If equipment ownership and rental is the business you want to be in, go for it - and know you're competing with rental houses that do ONLY this. Meaning you may find it difficult to offer the same rates they can - because they have many more clients renting their gear for many more days. And, rental houses tend to (at least try to) hire good people in-house to maintain their equipment. When you need a favor or sub-rental, or let's say you need 3 full cam packages and a larger lighting kit - you need to make sure you're accounting for the fact that a larger house has pricing leverage on you. Which leads to #3 3) There's no such thing as one-size-fits-all. Not every client will want RED, not every client will want to use those pieces you own. And there's no way that lighting list is enough for all jobs. White cyc/green screen? Local car commercial? Roundtable discussion? Again - when you rent everything from one rental house, you get better pricing. You may find that you can rent 10x skypanel for the price you have to charge to pay-off your 1x sky panel. Or maybe they throw-in the 6x arri 300's you need for accent lights. Which leads to #4 4) This is a business. Dropping 100k on gear and expecting to attract work based on your gear-list is a fool's game. Hopefully you have a dozen projects lined-up already that are paying top-rate for the gear, space, and talent. If not - line your pockets with ceramic so that money doesn't burn any deeper. This leads to #5 5) What are you selling? Is it your talent? Or is it your gear? When RED hit the market, thousands of people bought them and 100K+ in gear and started trolling craigslist offering to work for free and bring their gear. There was an honesty to it at least - these people looked at the investment as a foot in the door and an opportunity to buy themselves time on sets. At the end of their year or two giving away the goods for free, they learned and walked away with their gear to do their own projects. But when they advertised "DP with RED, Optimo Kit and 3-Ton truck - $200/day" - they weren't exactly advertising their talent. Anyone hiring those people were renting a lot of gear cheaply and sidelining the "DPs." 6) When you're a hammer, everything looks like a nail. You're a lot more flexible when you don't feel obligated to use what you own. When you own these specific pieces, you work hard to use these things, even when they may be too big or small or out of place. Your vision will morph to accommodate the items in your inventory instead of the other way around. And I can speak from experience - 1x of anything is almost never enough, even on small projects. Again - this isn't to bash the list, it's to speak from real experience about the less-fun side of this business. The business. The best help you can give your friend is to partner with a local rental house at first. You have the luxury of living in a market with support. Use it. Build an alliance with the rental house - so when you need 4x cameras and 30x Skypanel, you've been a great customer and they can work with you on what you can afford. And here's the thing - whether you rent it or own it - the price of gear is passed on to the client. Yes, it's cool to own stuff. But is it the stuff you want next year? Can you pay it off this year before nobody wants it anymore, it doesn't fit your needs anymore, or it's obsolete? How do you know the gear you picked is the best stuff out there in the situations YOUR company will encounter? Sell your talents, then decide whether you want to have the gear lying around. But make sure your talents have built value in that market before outlaying cash on stuff you're then stuck with.
  24. The new mole LEDs are NOT the old moles. The old LEDs were awful. The new are excellent, the color is as good/better than advertised and the power output is not inflated. I put my color meter on the 400 and was floored - about as good as LED's get. I know people are losing their minds about the sky panels, but a number of other and cheaper units exceed the color quality of the sky panel if not the flexibility. The 400 and larger moles are all that good. I have not measured the smaller units, so I can't speak to them. As for power - LED watts generally about equal HMI watts - so a 250 LED should have about the same output as a 1k tungsten. The new moles also use their own LED emitter, so you won't find it anywhere else to my knowledge. Everything is worth testing, but I'm quite impressed by the 400 and find it to be every bit as bright as an HMI 400 fresnel, but more flexible (dimmable) and more color consistent (HMI lamps age with big color shifts).
×
×
  • Create New...