Alexander Sutton Hough

We were both right and wrong at the same time.

Need to make another correction to that misconception. The sensors sizes are the same for photo. But video capture area of the sensor are completely different sizes. This video explains the difference. The GH5S captures the full width of the sensor while GH5 crops into the sensors so for video mode smaller sensor area.

Go with the GH5S if strictly for video. I have two and use them constantly. I also use them without batting eye along side my Red Gemini when a smaller camera is needed and with proper coloring or filmconvert couldn't even spot the difference unless you were really looking for it. Also if you get the Metabones T Speed Booster XL 0.64x combined with GH5S bigger sensor to the GH5 gets youre very close to the Red Gemini sensor size 1.149 crop factor in DCI 4k. Which is in between super 35 and full frame. Skintone and low light noise level is much better than the GH5 which I had for short period before it came out and did a doc with them as A and B cameras. Only draw back is lack of sensor stabilization. But if you get a gimbal that sensor in the GH5 moving around when IS turned off and when turned on fights the gimbal. Panasonic said thats why they took IS out because shows like Top Gear requested it where camera movement was to much and would fight the IS sensor. Also rolling shutter is amazing compared to all the other mirrorless and dlsr. Did a side by side test compared to my Red Gemini and fell behind slightly. Can't wait for a second version that can do 4k 60p 10bit 422 internal. Also my experience with black magic camera is they just die on shoots or defective. When I had the Ursa Mini 4.6k went through three one year. Black magic had to keep sending me a new one. Never had any luck with them. Also the Pocket 4k uses the exact same sensor as the GH5S that was developed by Sony. You will fall in love with 150mbps 4k 422 10bit for keeping files sizes down but still decent amount for coloring. Especially for documentaries or alot of content on low budget.

I found the power supplies litegear is using for for the 200w range for S2. As I suspected they use off the shelf Meanwell power supplies. The Plus series they have custom built. https://www.meanwell.com/webapp/product/search.aspx?prod=GST280A https://www.litegear.com/product/power-supply-12v-dc-16-amp/ Now I just need a cheaper dimming option that reliable.

Looking for something cheaper for DIY. There prices are to high for DIY projects. If I am going to spend that much I would just go the full way and buy a litemat plus.

Not high enough wattage, not bi-color and his dimmer would cause flicker at higher fps and different shutter angles. Looking for something off the shelf but can handle that thoes requirements.

While I have down time I have been interested in making my own LiteMat plus 4. I can get led strips, Corrugated plastic sheets, and Velcro. I got all that down. But I need help if finding a power supply and bi color controller that will handle like 200w and not flicker at higher frame rates when dimmed. Anyone have experience with this? I know I can buy litemat power supplies and controllers but thats way to expensive for this project and at that point would just buy a litemat plus 4 defeating this whole exercise.

Hi I have been debating about buying a used HMI light for my small grip truck. Right now I have bunch of aputure led lights, Qusar tubes and Tungsten lights. I am based in Los Angeles and can rent them for 100-250 a day. But does any one have thoughts if this is a good deal and worthy investment. https://www.usedlighting.com/19692/arri-arrisun-1200w-plus-hmi-par-kit?ref=products.categories Arri Arrisun 1200W Plus HMI Par Kit for $2700 after shipping and tax. They do not say how old or how much they have been used. But offer 180 day warranty. My concern is how long will it last before it needs to be repaired and is it crazy expensive to get HMI repaired in Los Angeles? What are you're thoughts? Are these like a 90s Toyota engines that just keep going and going or will it be every time before I strike it I'll need to make a animal sacrifice to the lighting gods to get it to work?

Hi does anyone know a good A19 style led bulbs to use on set? I have been waiting for Quasar to re-release their bulbs for a long time now. https://www.quasarscience.com/products/a-led-light-bulb?variant=23017389752378 I saw a add for these recently, https://store.waveformlighting.com/products/filmgrade-flicker-free-a19-led-bulb?variant=16011564089446 but have never heard of this brand and cant find much info on them. Also there not dimable. Many times I need to use daylight bulbs in practical lambs but cant find decent daylight one. Or need to dim them with out changing color temperature like a regular incandescent bulb.

Hi, I have the Westcott 8x8 and 6x6 kit and can build a 12x12 out of the modular pieces combined. Westcott doesn't sell there frames kits of fabrics for 12x12 and I am looking into getting a custom silk made from The Rag Place. Does anyone have experience with building these frames to 12x12? Or are they not strong enough to handle that size?

I am trying to solve how to use this practical lamp as a key for a scene. The director and I like we're the practical light is placed on the location and how it will light the actor in the scene. But two thing we don't like is the hard light spill from the top hitting the walls and when location scouting I put a piece of white paper to see what a heavy diffusion would look like and it was the right amount of diffusion. What's the best method for diffusing the top of a lamp shade? Just get some heavy diffusion gel and cut it to shape and tape it in? Second thing is I want it to be brighter and a tungsten color tempature. But the lamp can only handle a 60watt incandescent bulb. I want something around 100-150 watt tungsten equivalent to push through the lamp shade. How can I solve this? Can I rewire the lamp or is there a led bulb that I could use that is strong enough and high cri.

The effect its Optical Low Pass Filter causes? Doesn't the Alexa's OLPF contribute to its filmic look by slightly softening fine detail and lowering the contrast?

But what about the slight softening of super fine detail compared to other digital cameras that makes it more pleasing on skin and film like?

What diffusion filter would be best to mimic the subtle diffusion look of an Arri Alexa on the Reds, Sony and Panasonic. Currently looking for some to us on a GH5s and Sony FS7.

Same thing happened to me yesterday when I was testing my new 2ft and 4ft tubes that I picked up on Wednesday. according to Barn-door Film and video Lighting store they work with these kinds of dimmers. https://www.filmandvideolighting.com/quasar-tubes-q-led-x-crossfade-linear-2ft-lamps.html Compatible Dimmers ETC Sensor Innovative Dimmers ID: Rat Pac Strand CD80 Lutron CL Dimmers that require "Ghost Load**" for loads below 50 watts LED ETC Smart Module Elation Cyber Pack American DJ Leprecon dimmers