Seth Baldwin

Hey, does anyone have a FS7 or FS5 profile for their Sekonic meter?

Only available one online for Sony is the F65.

Cheers.

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!

A year later and I've finally ordered one, cheers everyone for the feedback!

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

Karau (http://karauproducts.com) make fantastic pouches, tough and beautifully made. I have one for my lightmeter and another for my spectrometer. I don't leave home without mine.

 

They make one for the 858: https://www.filmtools.com/sek608and608.html

 

Highly recommended.

I'll check them out, Cheers!

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

Super useful, thanks for that mate. Haha I suppose taping it on could work if I got that desperate

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?

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

now of course there's different diffusion materials, so let's just say 4x4 poly board vs 4x4 216 diffusion frame

Yeah for sure, in terms of output and shadow quality, what are the pros and cons?

What would be your reason to use diffused direct light over bounce light when they both create soft wide spread sources.

What you guys reckon, just a 4x4 floppy and a cutter will do the trick?

awesome guys, thanks for that. I'll contact the rental house

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

Fantastic ideas, thank you

Good idea, yeah its a tricky one, considering she wants grungey but also wants the cars to look good. Exactly what clamping rig would you use? Would also wanna make sure the police lights look good too.

Forgot to mention that yes, this is at the dead of night

Ive taken role of gaffer on a decent budget action drama short film,

We have a scene with multiple sports cars, police cars and stunts, the scene is a long straight road at an industrial estate and the DP and director are wanting a super grungy look with nothing but arri fixtures. Were not limited at all in terms of what we can rent besides obviously like an ARRIMAX or something too over kill but basically what I had in mind was very yellow straight outta Compton lighting but Im debating considering theres no street lights if it would be best to fake over head street light creating a hard source of light or to instead bounce it off the industrial state buildings near by to keep it soft. The director also really wants to show color differences between the different characters cars, in a way were lighting more for the cars then anything, so let me know what your take on this is.

What are the most popular classic Arri fresnel fixtures that could compete with sunlight to purchase?

The thing I can't stand about say the T1 is that you're losing almost half your output the minute you throw on a basic 5500k color temperature Rosco gel, pulling it down to basically a 500w haha, just for wanting the scene to be cool.

Yeah that's one thing I've noticed with a lot of cheaper LED Fresnel fixtures, in terms of quality, there's a lot of poorly constructed brands, many companies all trying to jump on the boat of affordability. Not saying that's towards all LED brands though, it's definitely a very saturated market, however I would still argue that Aputure in particular do make quality built products in comparison to most brands today. I guess we can't truly know until we give them the same decades of use, Arri fixtures went through.

Wow, just looked up the Rayzr 7, that looks promising.

The Aputure 300d's and 120d actually come with a Fresnel attachment which can spot from a 12 degree beam angle to around a 45 degree beam angle. Unless having the fixture optimised to a standard Fresnel actually improves the quality of light, I don't see how that'd be more useful.

Yeah I've heard that comparison before. Interesting. Even if these LED's try to imitate "real" fresnels, what defines a "real" fresnel if the look is basically the same?