Joseph Tese

If you plan to utilize gels often, specifically for intense cct changes or color effects, you have to consider the color accuracy issues with gelling LEDs. It’s not like gelling tungsten. Slight alterations from the led base color are more widely accepted.

It seems like you come up with something you’re relatively happy with. Because the light is so close to the window, the falloff is great, as you know, though. I understand it’s a student film, but it also might be worth mentioning the idea of using mirrors. One could rig mirrors and then blast jolekos or something with a long powerful from the ground, creating a more uniform source. But then you again have the issue of getting the mirrors high enough and at a 45degree orientation. thinking even crazier one could see what sort of options there are to rig from the roof - but this is absolutely not recommended without proper safety gear, professional rigging crew and equipment, etc. Remember..safety. I don’t think this is practical advice for your situation, but fun to think about more possibilities as an exercise.

There’s a bunch out there, but here’s a small, simple, portable one in light of the op’s needs. https://www.bhphotovideo.com/c/product/833611-REG/CHAUVET_DMX_4LED_DMX_4LED_4_Channel_Dimmer_Pack.html/qa It just depends on what your needs are..mainly power. That pack is not rated for a single 1500watt globe, for example. But there are more beefier dimmer packs out there, that may have an “input” of something other than edisons, like Bates or cams. For the wireless side, you have to choose a wireless protocol, which will determine your wireless hardware and visa versa. CRMX (also known as Lumenradio) is widely popular and many led manufacturers incorporate their chip into the fixtures directly now. There are many wireless dmx devices that use this protocol, like a Ratpac Cintenna/AKS combo. The cintenna goes into the dmx port of the dimmer pack. The AKS is your transmitter, and can connect wirelessly to your iPad (it makes its own WiFi signal) if you wish to configure it that way. Your iPad can run software like Luminaire , or if you’re feeling spicy use the Blackout app, which offers more customization. Also, it may be worth noting that Dadco makes lunchbox/dimmer combos that have wireless transceivers built into them, to help consolidate some of your pieces.

Maybe (at least the far flag) is shielding unwanted light on the casino dealer/extra. But blocking shadows from the camera movement makes sense too.

Aputure has made led practical bulbs with built in wireless technology. But if you want to dim incandescents, you can get a simple Edison dimmer pack that has dmx. Then put any wireless dmx dongle you’d like in there, and connect it to a board / whatever.

If you’re looking for more edge than the balloons can offer, why not edge the crowd from the narrow end of the beach? Don’t know if that’s creeping into the shot or not.

I made a 2k dimmer with a Lutron rotary that matches the dimensions Ed said. I wish I remember where I got the enclosure, but i think it was a heatsinked design that seemed to work well. Even with that size, and using 12g wire, it was a chore to cram everything in there.

I'm sourcing some small rig parts for a shoulder rig / baseplate combo to attach to a tripod as well. The tripod is the Davis & Sanford ProElite, 5-15, actually advertised as having a "Euro Plate Style". I don't know if it actually matches the actual OConnor mounting thread distances on their plates. But it looks like it would. The rod clamp I would need the tripod plate to fasten to is either: Small Rig 1775 or Small Rig 1798 (Which is just the 1775 but another plate on the bottom?) I'm wondering if the plate on the d&s is too short length wise to meet the far ended mounting holes on either the 1775 or 1798. For safety, would you suggest another baseplate/piece to ensure compatibility?

Careful. A film student will try it 🙂 😆

I used them in regular kino shells no problem. You can use any dimmer. For a quick and dirty and accessible dimmer, In my experience, lutron dimmers work the best. That being said, I have had multiple issues with dimming quasars with triac dimmers, such as random pulsing issues.

Adding to Canon's EF suspension and focus on RF, I guess the assumption is that Canon will make all the cameras "above" C70 to being EF/PL Swappable, and the lenses to PL. Speculation.

I fall into the category you speak of, of being so used to the Canon EOS line and their lenses. I did some self mental abuse comparing both the FX6 and C70. Wish I could have them in front of me, but fell back to what I felt confident in, the EOS line. I've never had any issues with the C300 and C200 AF ability, was always impressed. But, like we just pointed out, that's been my world - not able to compare it side by side to other systems. Ultimately, I sometimes toggle to AF for shoulder mounted scenarios, or for run and gun B-Roll and tracking people while handheld.

Thanks for the reply. Considering the budget and type of work, and in light of your reply, I am shying away from the cinezoom idea and heading back to the regular af/photography lens market. Again, concerning AF, I also assume Canon glass is going to be optimized greatly for Canon camera's AF abilities. The RF lenses look like great quality, but I'm a bit confused by Canon's decision to suspend EF lens creation? Especially knowing, that the C300mkiii is a great partner to the C70, since they share the same sensor. The C300mkiii I believe can never swap to an RF mount - I think that would require a whole new body because of how short of a flange distance it is. The RF camera mount is great as far as adaptability to other lens mount types, but not the other way around. It makes me not want to invest in RF lenses, knowing I can't use the glass on C300mkiii or other cameras "above" the C70. So, the RF lens market is appropriate for only C70 and mirrorless users. It pushes me back to just investing in EF canon glass for my scenario.

Good Morning! On behalf of a new corporate video department, I am helping build the equipment and workflow. As you may imply by the name corporate (or may not), and highly considering the C70, the type of work can and will vary in scope , where versatility is a huge consideration (run and gun single/2person operation, with the potential to evolve into more complicated setups). The 15.5-47 Canon CineZoom caught my eye (which had a crazy price drop in the past year or so). Then I discovered the 18--80, which is more of a hybrid lens between DSLR and CineLenses. The 18-80 is a manageable weight that may not require rails, and in situations with minimal crew and fast setups, the AF on the 18-80 will come in handy. I can only find the 18-80 and 70-200 boasting AF capability in that line. I know there will be times the T4.4 will kick me in the butt. Do you know of any other "hybrids" that boast Cinequality and functionality but also incorporate AF? Do you feel that there will be more of these lenses as the two worlds seem to be merging more and more?