Відео

So glad I could help! 😊 ~Dave

Ohhh, good question. To be honest I haven’t tested the hub function with either model transferring directly to an iOS device, so I’m not 100% on their compatibility. How are you planning on transferring your data from the camera to the iPad? Is it via USB on the camera or via SD card (etc). Some further details would help. Of the two, the omni 40C+ is more likely to be compatible, as it’s much newer with more up-to-date specs. It’s better and more versatile all round in my opinion, if you’re not planning on flying with it. The manual doesn’t give a clear answer, so let me see if I can replicate your setup over the next few days with our (standard) iPad to see if it works. Here’s a review I did recently on the 40C+ if you’re keen to learn more: ua-cam.com/video/Bkletijln0Y/v-deo.htmlsi=TtLfaMJrI02198-_

Thanks so much for your prompt response. Your video on 40c+ was also great!👌 Yes, I usually fly for scuba diving purposes when I need to use a hub/power bank and thus, 40c+ model won’t work for me. I have a power bank and a hub now (i.e., 2 separate devices) and having both of them in one device would be a great option. 👍 I will be transferring 4K video files from my camera SD card to an external SSD drive and my iPad Pro itself for back up and viewing purposes. I also use the hub for transferring files between different hard drives through a windows laptop. I am concerned with iOS compatibility and transfer speed of 20c since it is an older model. I wonder if Omni is coming up with a new version of 20c given the current model was released in 2018 or 2019. Cheers

Thank you! 😊

Thank you! I was trying to keep the video short for this one! It was boomed directly behind the subject, over the top of the backdrop. I included it in the accompanying pdf as well. Thanks for watching!

Thank you! Glad you enjoyed it. Thanks for watching 😊

Thank you!! I don’t typically use c-stands for 5-in-1’s. You need a second clamp on hand on the other end of the arm and in my experience the 2.5” grip heads can easily damage the outer frame and fabric of a 5-in-1. Because of their fixed length, the gobo arms also don’t fit all of the reflector sizes. You definitely can do it, I just tend not to. My preference is a designated 5-in-1 reflector holder like the ones by impact. They’re counter weighted, have clamps on either end designed for 5-in-1’s and they’re extendable, so they fit different sized reflectors. They also can be mounted on any 5/8” baby pin, so can go on either light stands or C-stands, so they’re pretty versatile. Downside - they’re not as strong or rigid as a steel gobo arm obviously. That’s my 2-cents! Thanks for watching!!

@@CreativePathFilms Awesome response Dave. Thanks for being so prompt. Have checked out the 'Impact Multiboom Light Stand and Reflector Holder - 13' (4m)'. Cheers

No worries, this is the one I own and use: www.amazon.com.au/Impact-Telescopic-Collapsible-Reflector-Holder/dp/B005GMV4CU

Thanks for watching mate! Yeah the bottles aren’t ideal, but if you don’t have what you need, you make use with what you’ve got!

You’re very welcome!

You’re very welcome!

They’re certainly popular!

Thank you! 😊

Thank you! That’s a huge compliment and this has been my goal for the channel since the start. Thank you for taking the time.

Thank you very much!

Haha, thank you 😅

You’re more than welcome!

Thank you very much!

@@CreativePathFilms thank you for the contents

You’re more than welcome. Thank you for watching!

My pleasure! 😊

My pleasure! I’m glad it helps!

Thank you! Unfortunately not, the DC port and rear hub share a power circuit, so can’t be used at the same time.

@@CreativePathFilms ahh ok thanks for the reply! For studio photography then to use the HDMI function (+front and back ports) while keeping the hub and laptop powered what solution do you propose? I couldn't really make out from the video..(PS: I also subscribed to the channel, good stuff!)

@nong78 thanks for subscribing! Glad you enjoy the content. To use the hdmi as well as the front and back ports, you need to 1. Enable “HDMI only” in the menu 2. plug in both USB-C port 1 and port 4 to the laptop with two different USB-C cables. 3. Plug in the HDMI cord and any Additonal USB accessories you need. Note you cannot pass-through charge (charge the omnicharge) with this setup.

@@CreativePathFilms Thanks for clarifying! When the hub runs out of juice, since I won't be able to use the DC port, would u recommend to power the laptop separately using the apple charger so we can still use the hub and have the data on both ports still pass thru and running?

@@nong78 Bro to keep it simple- if you want to use BOTH the front and back hubs simultaneously you CANNOT use any charge functions of the Omni period (including pass-through)…to use pass-through charging you’d have to limit your use to one hub at a time (either front or back)…connecting your laptop to power while utilizing both hubs does not power the Omni, so when the Omni battery eventually depletes you’ll have to discontinue use of both hubs and charge the Omni

Pleasure! 😊

Yes it’s matching the CT of the Tungsten light used for this showcase, which is also the second most common CT for film/video, after 5600k daylight. Much warmer than flash for stills! Tungsten halogen lights (3200k) have the highest possible color rendering/ color fidelity available from an artificial source. So I use them when demonstrating gels for color accuracy, as it mitigates any potential color temperature or green/magneta shifts (commonplace in LED’s, for example). I examine tungsten lights color fidelity in this video: ua-cam.com/video/5JqmW6nhzzs/v-deo.htmlsi=xc8Kk4ni1dcuoD3P And discuss them more generally in this video: ua-cam.com/video/TW90KmZ7Tfo/v-deo.htmlsi=bQdgbE_AzQok_N9s And this video: ua-cam.com/video/LQ4K4wMrRig/v-deo.htmlsi=K50uCard0-wvOPXy

@@CreativePathFilms thanks mate - appreciate the links - learning a lot about colour. I normally just use a colour checker passport and set camera to 5600K when shoot with strobes Keep up the excellent videos

@JohanSchmidt thank you for coming back and engaging here in the comments. Glad you’re finding the videos useful!

Thank you, we appreciate you taking the time to tune in! Have a great day 😊

Thank you so much!! 😊

Thank you very much, I appreciate your kind words! We put a lot of time into our videos.

Thank you 🙏🏼

We don’t at the moment, but thanks for the suggestion!

👍🏼

The 20C+ doesn’t have a DC port, only 2x USB-C ports and 2x USB-A ports.

Okay thank you, can we change voltage output for 2 usb-c ports?

Not manually, it automatically detects the appropriate USB-C protocol from the device it’s connected to. If you’re after a battery that can do high powered USB-C and had DC In/out capability, checkout my review on the omni 40C+. It’s a beast. ua-cam.com/video/Bkletijln0Y/v-deo.htmlsi=GMdKkncD33Hk1RUv

Hi, Is this an omnicharge power bank?

@@CreativePathFilms no it is an oraimo product

@idrischris2138 I’m sorry, I don’t know the answer. This is how omnicharge power banks have been designed to calibrate, but it is not the same for other power banks.

Potentially. It warrants some experimentation, I have improved the CRI (very slightly) on LED film lights with appropriate correction gels. But as there is so much difference between different household lights from different manufactures in different countries that it would be near impossible for me to give you an accurate recommendation for the lights you have access to. You would need a spectrometer like the C-800 to know, which far our prices the cost of entry level film lights. One thing to note about gels, is they don’t add a color to a light, they block certain wavelengths of a light, except for the desired wavelengths. So a blue gel isn’t adding blue, it’s blocking everything but blue. If there is very little blue wavelength to begin with (eg the streetlamp discussed in the video) it would block the majority of the output and only allow a small amount of light would make it through, which isn’t very efficient. I will experiment with some household LED fixtures here to see if I can improve them at all, but I expect the change to be small. If you’re on a budget, the best thing to do is find some inexpensive tungsten halogen lights (they make in hardware store halogen work lights), and use full ctb to gel it to match daylight. This is how I started! Inexpensive, very hot, not very efficient, but they give excellent color rendering for an affordable price. I have a video called “working with tungsten film lights” you should check out! All the principals apply to any hardware store halogen light.

@@CreativePathFilms thats exactly what i wanted to know about... if a particular color is low in the spectrum... and if I reduce all other colors to that level, I thought it will equal the reading of all other colors... ofcourse, will have to compromise some intensity in the process, but getting a 50-100w led might solve this problem... and 2nd thing please also try with bouncing the light on unbleached muslin... it works for me, but I don't have a light meter, so cant actually know the readings... 6500k led battan light when I bounced on a unbleached muslin cloth, the light fallout on the skin looked decent in the footage, that looked good actually... no green cast or any other funny light cast which we normally get with low CRI lights... and for the part you mentioned about tungsten, my 1st project is majorly based in the jungle, so there will be no power to plug... i have to rely on batteries... that's why I asked if commercial low-wattage lights can work with tweaks...

Excellent series. Could you have a general description of what a specific indicator is used for - what is the problem that is being solved before showing the tool.

Hi Johan, thank you for your compliments! Could you please elaborate on your comment further? Are you referring to the indexes mentioned in the video? Or the conversation above 👆🏼

@@CreativePathFilms the readings in general - I’m coming from a still photo background and don’t know anything about making videos & movies. In general I use a sekonic 785 for my light and a colour checker for my colours and WB - very informative series and you have a solid way of explaining

Thank you!

Thank you!

I know, we regret it. We’ve changed our our approach and mix since these earlier videos.

I believe her family is from Hong Kong actually! But she does draw from a very wide range of cuisines from across Asian and she’s very well travelled.

Ps. Thanks for stopping by again!

@@CreativePathFilms Oh! Thanks for letting me know that. I have already subscribed and I am watching all your videos in order~

Wow, thank you! I hope you enjoy the ride 😊 if you have any questions along the way, I’m here to help.

Thank you!!

😊

A very important question, here are some links for further reading: www.specialeffectsunlimited.com/fog-haze-safety/ asepo.org/FogSafety

@@CreativePathFilmsAwesome! Thanks! I'll take a read!

The one I have features briefly at 1.37 in this video. It’s by Britek and it’s as old as the lights themselves, with a custom modification to the speedring so it can slot into the barn door/accessories slot. A quick google tells Britek still sell tungsten softboxes. This kit was all purchased second hand and was customised, not sure what’s currently the best out of the box solution. ua-cam.com/video/xKLINS7uANg/v-deo.htmlsi=I9OX2p0wgtjDrwcC

My pleasure!

If that’s what you’d like to see, you might enjoy this video: ua-cam.com/video/Jy2Kn7J-9jg/v-deo.html Whilst we didn’t use a strobe, as we’re predominantly film/video focused on this channel, the principals are similar. I opted for an offset arm rather than a c-stand arm in this instance for stability and strength. Hope you enjoy!

You cannot I’m afraid!

It’s a hard one, I have not been able to find many good resources when it comes to color and production design/costume specifically. Or even filmmaking specifically for that matter. But here are some of the better resources I have found related to art direction and color theory: - “the art direction handbook for film” by michael Rizzo. The seminal book on art direction generally, which excellent, sadly doesn’t really cover color theory I don’t think. - “if it’s purple, someone’s gonna die” by Patti Bellamtoni. Focuses more on the emotional impact of color to storytelling. A very good book to have in your library as a filmmaker. Probably the only book I’ve seen that specifically has been written on color in relation to film/design. - “color and light: a guide for the realist painter” by James gurney. A book on painting, but has excellent coverage of various color theories and their practical application. Many adaptable theories can be translated to film, lighting and design. Books I have bought but have not explored in much depth: “Color harmony Pantone edition: expert color information for professional results” by Leatrice Eiseman. very interesting, lots of quality information, heaps and heaps of palettes organised by mood, that you could directly apply to design. Exclusively Uses the Pantone color referencing system. Leatrice has published a host of other books on the topic, so I would look up her other works as well on abebooks and eBay. “Color: a course in mastering the art of mixing colors” by Betty Edwards Focused on painting, but some good insights into color theory. “Color” by Victoria Finlay. Another book on the emotional impact of specific colors, mostly art/painting related. Books I’d pass on: - “color psychology and color therapy” Fabian birren - almost all psychology talk. “Interactions of color” - Joseph Albers. Almost all related to abstract art. Not over transferable. I hope you find something useful in this - good luck on your search. Please check back in if you find any good references! I’m always on the hunt. ~Dave

@@CreativePathFilms Can you please make a detailed video on this subject. Thanks

@@AjayKumar-vl8vw As a Cinematographer, rather than a production designer, it feels a little bit out of my scope to make videos on PD and color. Perhaps, as I learn more I'll be more confident in putting together a video on the topic.

Thank you so much@@CreativePathFilms

Thanks for your detailed questions, you clearly know you’re stuff! The usage tests I performed were very practical in nature. - The MacBook was turned on at the time of the test, so it was also drawing power as well as charging. - The 94-96w was an observed average, however in reality whilst it was drawing a sustained 20v, the amperage and wattage was fluctuating up and down, so it wasn’t drawing this wattage continuously. - As stated in the video, the 8-9 hour estimate was the estimate provided by the Omni 40+’s interface, and I implied it was likely an unrealistically optimistic estimate, which your math has proven. I did not run this test. If you have suggestions on tools or methods I could employ to improve my testing, I would appreciate your insights. I’m a video guy, so camera/lighting is my area of expertise. But I use these batteries in a production context. Thanks! Dave.

Great questions! Unfortunately, the DC and USB-C ports share the same power circuit, so can’t be used simultaneously in any configuration. If charging the battery via USB-C, you can still pass through charge to another usb-c port (30w), the usb-a ports or the AC port. If you’re charging the battery via DC, you can only pass through charge and use the USB-A and AC ports.

Just thought you may want to know about this new release, solves the passthrough charging issues from the 40+. ua-cam.com/video/Bkletijln0Y/v-deo.html

Yea there’s a flexible metal rim around the outside of the reflector that pops into a shape when unfolded.

Sorry I’m not sure of the question? What it is made from? Or what is the reflector used for?

I’m glad I was able to help bring the struggle to an end!!! 🥳🥳🥳

Great question - it gets a little bit more complex the bigger you get, especially if you’re incorporating movement into it, like dance. I actually am planning a setup for another video very similar to what you’ve described, so I’ll post a link when it goes live. How I would do it, is have a spotted light, such as a fresnel, or a light with a reflector dish on the end of a boom arm, up above head height, boomed out over where your subject is dancing, pointed at the background. This gives your the background light. I’d then probably hit the subject with some backlights. These could be in the shot or hidden, but I’d go in the shot for dance - personal taste (tube lights are good if you want to use them in the shot) either side of your backdrop. Hope this helps!

@@CreativePathFilms Yes, it is a help to me. Thanks so much. At least I have an idea as to what is needed and how to go about getting it done. Thanks so much for getting back with me in a timely manner. It is appreciated. You made my day. I plan to be there when you go live. You are the best!!! ☺👍