Jump to content

Seth Baldwin

Basic Member
  • Content Count

    48
  • Joined

  • Last visited

Community Reputation

2 Neutral

About Seth Baldwin

  • Rank

  • Birthday 12/23/1999

Profile Information

  • Occupation
    Cinematographer
  • Location
    Australia
  1. Hey, does anyone have a FS7 or FS5 profile for their Sekonic meter? Only available one online for Sony is the F65. Cheers.
  2. Hey! Trying to decide on what exposure target to roll with for calibrating and profiling my L858D to DSLR cameras, 35mm and Alexa. What target essentially allows for the most amount of latitude to profile in the profile wizard software. I only bring this question up because of Sekonic's options being of poor quality. Wanted to roll with the "Exposure Profile Target II" but it's like $280 here in Australia for a piece of weak cardboard. The "X-Rite ColorChecker Target" looks more promising quality wise but considering it's not made by Sekonic it makes me question the accuracy of the calibration process. Any tips from people holding experience with these brands? Cheers!
  3. A year later and I've finally ordered one, cheers everyone for the feedback!
  4. Hey, this is probably a stupid question, Does anyone know what value of foot candles or lux accurately equates to one stop of light. Obviously standard light metres can do this math for you, But I'm seeking to better understand this math. Cheers Seth
  5. Since light meters are basically nonexistent in the indie market, it's becoming harder to find well established brands that cater for light metres pouches. Been looking for what pouch to role with for days now, found a couple that looked good but none advertise for fitting the new L858D model from Sekonic. It's a shame Arri stopped producing and stocking their utility pouches, they were great. May someone point me in the right direction? Cheers. Seth
  6. Super useful, thanks for that mate. Haha I suppose taping it on could work if I got that desperate
  7. Building an equipment list for an up coming music video. Were shooting on Alexa Mini, Lomo anamorphic 50mm, 75mm and 100mm round front with also a 32mm square front. First time shooting anamorphic and Im already aware Im gonna need many different diopter strengths which Im not concerned about, my concern is on specific filter trays and matte boxes to support these lenses. The rental house only sell Arri matteboxes, were not to concerned on budget of which matte box to go with, all we need to make sure is that the mattebox can support the round fronts specifically and that the diopters will actually fit in standard filter trays. Any suggestions?
  8. Hi, Just purchased a Sekonic L-858D-U, this is my first time getting into using a light metre on set, I've recently been doing mostly gaffing jobs, so I was wondering, as a beginner would I be able to get some insight on creative and or common practices of communicating light in the grip and electrics department with a light metre. Thanks
  9. now of course there's different diffusion materials, so let's just say 4x4 poly board vs 4x4 216 diffusion frame
  10. Yeah for sure, in terms of output and shadow quality, what are the pros and cons?
  11. What would be your reason to use diffused direct light over bounce light when they both create soft wide spread sources.
  12. What you guys reckon, just a 4x4 floppy and a cutter will do the trick?
  13. awesome guys, thanks for that. I'll contact the rental house
  14. Got a gig that will require a lot of soft street light outside. My question doesn't really relate to our lighting setup but more a question regarding the science and possibilities of controlling light. So we have 2 Arri M40's each separately going through 8 x 8 diffusion frames right across the road from each other, pointing in roughly the same direction, except one is directed more across the road and one is pointing more down the road, any way long story short we need to create more separation and mood to the scene and have many 4 x 4 floppy's and 2 x 6 cutters. Since a substantial amount of light is needed to be lost from one side of the diffusion frame and the fact that the more diffused a source is the harder it is to dramatically cut it, is there a better way besides basic flagging to control extremely flooded light from a big diffusion frame? Thanks
×
×
  • Create New...