@@dylannolan7454 I ask, which is why I have to cross the road and point the light back, I turn everything off anytime there is a vehicle or a pedestrian
Thanks again for a thorough and practical walk through. Am curious to see what you will make of the xt26, both in terms of the power output, and the power draw. Had hoped to ask some questions at BSC last weekend but no-one seemed overly interested in helping (In stark contrast to the nanlite and godox booths). Disappointing, but I'm confident that you'll address any questions I might have had, and others I wouldn't have even considered. Cheers.
At this point I'm going nanlux 2400 over this unit the ballast is huge , I think it's a beautiful light but there just isn't room in my truck for all that extra stuff.
@@Privateerspace At the moment, I don't have a need for either, but the more compact size of the nanlux stuff has me leaning that way. That Electrostorm ballast is a honk of a thing. Ideally I'd prefer to keep as many of my lights to the same manufacturer for consistency of colour etc (I have mostly aputure lights to this point), but since we are more likely to use CRMX rather than the Sidus app on set, there's little downside now to having both nanlux and aputure lights.
@@gearoidosullivan356 yes crmx is fantastic once you go there it's almost impossible to go back , I hate not having it on set now. Apollo bridge with blackout is currently what I'm using. But I'm finding one universe to small now I understand wanting to use the same brand. I do have quite a mix of lights, arri, Aputure, nanlux, Gemini .
Possibly with the CLRS, I haven't really had a play with it. A regular mirror will give you a light beam the size of the mirror (relative to the angle to the subject)
good review Andrew, but one question, at 5:54 you show the beam with a hot spot, is this such that (in LF film photography terms), you should put a center filter on the camera lens, to deal with it?
I highly doubt anyone would use the light like I am there, I'm only using it that way so gaffers can clearly see what is happening in the beam.. I would use it like I am doing later in the testing..
I had a look at the CS15 the other day, disappointed with the output especially in colour mode, and the Fan/pump noise coming from the head would make it not great close to camera if recording sound.
How are you neighbors not pissed off? I wouldn't be either tbh
10 місяців тому
what do you say or do when the director on set gives you lighting advice that absolutely makes no sense, leading to something he said he didn't want in the beginning. Do you just do it or do you say it to him that it is not the right thing to do.
There is no straight forward answer to this. But I find (if you have a DP) that if both of you explain the issue away from the crew that can have best results. So no egos in the conversation, and give clear explanations. But it really comes down to the other person.... Occasionally you can win an argument with someone who is way more intelligent than you, but you can NEVER win an argument with an idiot. Because idiots are not smart enough to understand they are stupid. Sometimes (for my own mental health) I just have to turn down the care factor and accept that this job is going to look like shit, and it's not going on my resume. I feel like shit on the drive home, but to help me feel better on the next job I'll go out of my way to make something beautiful that I can be around of.
10 місяців тому
@@gaffergear thanks a lot for the answer and the advice :) i get what you mean :) it is good to hear that i am not the only ones dealing with those problems ^^
@ what is even worse is when you get a DP like that. As a gaffer I have one job, make the DP look good. And there are a few guys that just don't allow me to do that.
10 місяців тому
@@gaffergearoh i agree. Working with people is hard hard sometimes :D
For this part: "leading to something he said he didn't want in the beginning." allow me to suggest this....in the beginning and especially during scouting, write everything said down. Date and time stamp it. Trust me. One day we scouted a church we were putting a 40x40 foot green screen in front of. I pointed out that at the time of day we would shoot there would be shadows cast all over it and 2 condors would be needed. The DP said "we won't be lighting the green screen." The day of shooting we used all 4 of the 18k Silver Bullets on condors resulting in a lengthy overtime. When the producer asked, I reminded him of that scout day and showed him my notes with the quote from the DP.
1:35 how big is the case? "Well, im sitting on it" was one of the best transitions ive ever heard :'D
I don't know why I always get a kick out of you lighting the neighborhood...LOL
imagine being his neighbor, what a legend
Do your neighbors mind?
@@dylannolan7454 I ask, which is why I have to cross the road and point the light back, I turn everything off anytime there is a vehicle or a pedestrian
@@108u9 LOL! Well played.
Thanks again for a thorough and practical walk through. Am curious to see what you will make of the xt26, both in terms of the power output, and the power draw. Had hoped to ask some questions at BSC last weekend but no-one seemed overly interested in helping (In stark contrast to the nanlite and godox booths). Disappointing, but I'm confident that you'll address any questions I might have had, and others I wouldn't have even considered. Cheers.
Me too
At this point I'm going nanlux 2400 over this unit the ballast is huge , I think it's a beautiful light but there just isn't room in my truck for all that extra stuff.
@@Privateerspace At the moment, I don't have a need for either, but the more compact size of the nanlux stuff has me leaning that way. That Electrostorm ballast is a honk of a thing. Ideally I'd prefer to keep as many of my lights to the same manufacturer for consistency of colour etc (I have mostly aputure lights to this point), but since we are more likely to use CRMX rather than the Sidus app on set, there's little downside now to having both nanlux and aputure lights.
@@gearoidosullivan356 yes crmx is fantastic once you go there it's almost impossible to go back , I hate not having it on set now. Apollo bridge with blackout is currently what I'm using. But I'm finding one universe to small now I understand wanting to use the same brand. I do have quite a mix of lights, arri, Aputure, nanlux, Gemini .
If you bounce the narrow into a mirror and then through the window would that sharpen up the shadows by collimating the light?
Possibly with the CLRS, I haven't really had a play with it. A regular mirror will give you a light beam the size of the mirror (relative to the angle to the subject)
good review Andrew, but one question, at 5:54 you show the beam with a hot spot, is this such that (in LF film photography terms), you should put a center filter on the camera lens, to deal with it?
I highly doubt anyone would use the light like I am there, I'm only using it that way so gaffers can clearly see what is happening in the beam.. I would use it like I am doing later in the testing..
Thank you!
I had a look at the CS15 the other day, disappointed with the output especially in colour mode, and the Fan/pump noise coming from the head would make it not great close to camera if recording sound.
can you use those reflectors on a 1200x or any other bowens mount lights?
@@austinscherzberg4569 it uses the A-mount so it is not Bowen compatible
Your neighbors must love getting 2600 watts thru their windows at night haha thanks for the review
How are you neighbors not pissed off? I wouldn't be either tbh
what do you say or do when the director on set gives you lighting advice that absolutely makes no sense, leading to something he said he didn't want in the beginning. Do you just do it or do you say it to him that it is not the right thing to do.
There is no straight forward answer to this. But I find (if you have a DP) that if both of you explain the issue away from the crew that can have best results. So no egos in the conversation, and give clear explanations.
But it really comes down to the other person....
Occasionally you can win an argument with someone who is way more intelligent than you, but you can NEVER win an argument with an idiot. Because idiots are not smart enough to understand they are stupid.
Sometimes (for my own mental health) I just have to turn down the care factor and accept that this job is going to look like shit, and it's not going on my resume. I feel like shit on the drive home, but to help me feel better on the next job I'll go out of my way to make something beautiful that I can be around of.
@@gaffergear thanks a lot for the answer and the advice :) i get what you mean :) it is good to hear that i am not the only ones dealing with those problems ^^
@ what is even worse is when you get a DP like that. As a gaffer I have one job, make the DP look good. And there are a few guys that just don't allow me to do that.
@@gaffergearoh i agree. Working with people is hard hard sometimes :D
For this part: "leading to something he said he didn't want in the beginning." allow me to suggest this....in the beginning and especially during scouting, write everything said down. Date and time stamp it. Trust me. One day we scouted a church we were putting a 40x40 foot green screen in front of. I pointed out that at the time of day we would shoot there would be shadows cast all over it and 2 condors would be needed. The DP said "we won't be lighting the green screen." The day of shooting we used all 4 of the 18k Silver Bullets on condors resulting in a lengthy overtime. When the producer asked, I reminded him of that scout day and showed him my notes with the quote from the DP.
LIGHT ME UP, DADDY!!!!!!