Here's a teaser for the Documentary with CBUM I'm talking about in this video. Let me know if you want a breakdown on this video and I'll do a shot by shot tutorial. Leave your questions! ua-cam.com/video/uxtkDU2pliY/v-deo.html
Can’t believe I started watching you Mark with about 50 subs on UA-cam. But hard work and great tips always wins! Thanks for providing useful insights!
Yay! Really, it's surprising how often we'll find top pros making great light with simple tools. I remember in the late 1980s learning portrait lighting from Nancy Brown, a former NY fashion model who had a long career making photos for lifestyle stock and beauty photos for cosmetic companies like Revlon. Her basic setup: a small graphic designer's white desk, three sheets of 4' x 8' Fome-Cor board (left, right, background), three flash heads. She got lots of her props from thrift stores and many of her models were friends and neighbors - she would shoot in their homes and on their property. I loved her book, Photographing People for Advertising - her spirit was so generous (like Mark Bone) and her ideas were so much fun.
i'm now a big fan of using a big umbrella instead of a softbox. i just bounce my key off the inside of the umbrella and through a sheet of diffusion. looks just like a book light, but faster, more compact, and on a single light stand. 👍
Probably talking about those umbrellas that have a diffusion sheet on them as well like a Godox UB130W. Beautiful soft light but yeah the spill is massive compared to a gridded softbox
AOD member here. The tip about the Bowens mount...bro. I've been looking for that tip for YEARS...even searching for "how to" and couldn't find anything. Thank you. Thank you. Thank you.
Was wondering if you were gonna do videos with the Bumstead doc footage. This makes me so happy. Worlds colliding having my favorite creator working with my favorite athletes. Looking forward to the film!
I'm going to speculate that this film is the reason I ran into you at the airport in Orlando. 😂 It was great meeting you, Mark. I can't wait to see this film!
seeing urs, crazy! and also seeing you in those urs videos a while ago...simply combines my two passions with each other!! thank you for all the knock ledge, you, Peter Mc Kinnon and Danny Gevirtz simply taught me everything I know about cameras! :)
Been using the G200 and a G300 for the past few months. The space and weight savings are so important to me now and have made me rethink my long term lighting plans getting Aputure kit etc.
One of biggest icks (besides the word ick) is watching someone try to put the softbox on the light once it's already on the stand so made me smile when you mentioned that
I've never click so fast haha. Was waiting for this "light travel gear" video! Been filming a documentary in France this summer and it was a heck of a challenge! Thanks for all those advice Mark !
The light through the window has been interesting......especially how you noted that you can accidentally create the feel of moonlight. tHanks for the video
This is great! Love the MolusG300. Really small setup.I just made a video where I pack 4 lights, camera package, light stands, and tripod in two carry on bags. Doesn't look as good as this though! Great job!
Great video. OMG… the bowens light mount trick… 🤯 I’ve done it before and wondered why I don’t do it all the time 😂😂😂 thanks for reinforcing it on me now!
The thing photographers / videographers seem to understand the least nowadays is the role of SHADOWLESS FILL LIGHT as the foundation of any lighting pattern. That wasn’t the case back in the late 1960s when I first tried to shoot studio portraits because back then everyone used negative film which had to be exposed for the shadows. I first learned to use Fill back in high school from a Kodak “How to Make Portraits” book which suggested placing a fill light directly behind and above the the camera on the camera axis. The reasoning behind this placement is that if the FILL creates any shadows the camera sees you’ll wind up with dark distracting voids and a patchy looking pattern of shadow detail. With digital sensors any voids in the fill light wind-up filled with all noise / no signal. So the ‘flatter’ i.e. shadowless the fill is the better and keeping the FILL centered and raising it above the heads of the subject so their head shadow falls back behind the body and isn’t seen. In 1972 I when to work assisting Monte Zucker, then the top PPofA wedding photography instructor and author of the monthly column on wedding photography in the PPofA magazine The Professional Photographer. He had become renowned for introducing the technique of off camera electronic flash to shooting weddings and being able to record a full range detail in every flash shot by also using an identical FILL flash mounted on a bracket over the camera. If shooting from 11ft at our Fill flash was also at 8ft and testing showed that f/8 produced detail in black suits at that distance. Then it just a matter finding the distance needed for an OVERLAPPING Key flash to expose the huge white bride’s dress perfectly which with negative film was making the key light one-stop brighter than the fill optimally exposing the shadows. Per the inverse square law a light moved from 16 > 11 > 8 > 5.6 > 4 feet will double intensity (one stop) with each move. So if shooting from 11ft @ f/8 we placed the identically powered Key light at 8ft. If needing tighter in-camera crop we moved in to 8ft, moved Key light to 5.6 ft and closed aperture to f/11, for close-up camera and Fill move to 5.6 ft, key light to 4ft and aperture to f/16 to keep exposure and aperture exactly the same. It controls exposure and ratio far better than TTL meter, especially in situations where many different subjects with different reflectance clothing and complexions sit down in front of the lights. Starting in 2000 when I got my first digital camera with histogram and highlight clipping warning I realized the easiest and fastest way to set lights was to drape white and black hand towels over the gray card I used for WB and then: 1) set aperture on lens for desired DOF 2) put FIILL centered above subject head on camera lens axis and raise its power until detail texture was seen in playback in the darkest parts of the black towel. 3) Turn on the Key light and raise it until white towel was triggering clipping warning then back off 1/3 stop. What that 1-2-3 procedure does is adjust the contrast of the lighting EXACTLY to whatever the DR of the sensor is. For any given ISO speed the amount of fill needed will be pretty constant regardless of the sensor’s DR because ISO speeds are based off of recording shadow detail. What will change as DR of the sensor gets greater is the amount of Key light added on top of the fill where the two overlap needed to clip the highlights on the white towel. Why use towels instead of flat cards? Texture. It is much easier to visually judge highlight and shadow exposure based when texture is recorded in shadows and highlights. Also the loops in the fabric create specular highlights similar to the way hair does which makes it easy to see when Key light intensity is obliterating the specular highlight clues to 3D shape on nearly flat white surfaces. Once you try lighting first with centered fill you’ll be able to see why putting the Fill source off axis is a bad idea-any where fill and key light shadows cross or can’t reach - smile lines, corners of mouth, inside of mouth when open - become noise filled voids.
I'm glad you are in cahoots with the Cbum. It seems that his rise in popularity is deserving of your team's skills. ( Yeah I'm allowed to use cahoots if you can grab an old hockey bag for the trip.....It's 80 degrees outside! Canada is that way! Where the hell are we supposed to find a hockey bag around here? Cahoots it is ).
I use a 200 on lantern and a 60c panel w/softbox, does 80% of what I need! Lantern points up for a wrap around key and rear fill, and the 60 is normally a hair.
Oh great - I‘ve been waiting for this to come out 🎉 I had a great time with you guys in Berlin, tagging along and filming the BTS. That lighting packing packed down small and has some oomph 🤞 I remember Tad moving that dumbbell tower to finesse the wide shot 😅 Thanks again for bringing me along 🙏
Love the video, thanks for your insight Mark! In my experience, the lights/cam/lenses are the easy part when traveling - it’s the stands that kill me. Genuine question, why did you opt for relatively large c-stands for your travel kit? Were your compact lights + softbox too heavy for those compact carbon-fibre style stands? (ie. Manfrotto mini compact, etc). Probs could’ve save a suitcase 😅
Great to see you on here again, Mark. Have you experimented with changing the color temp of your keylight to something like 4500 and then setting the WB in-camera to the same to further create color contrast between your subject's skin tone and background in natural light settings? If not, your color looks great without it but I just wondered.
So did you buy these yourself? Where you sent these and could keep them? Do you have to return them at the end of your review? Can you clarify the relationship and arrangement with Zhiyun?
Definitely don't mean to nitpick, but SSI (spectral similarity index) and the TM-30 color rendering index are both much better color render estimators than TLCI. Though that being said, I do still use TLCI to check out how a light will render specific colors that I find to be pivotal, like red or blue. So they're all helpful! Awesome video. I'm really impressed by what you can do with just two lights. And the form factor and how condensed the whole thing is makes me quite envious.
Hi bro. What is the best lighting for UA-cam video shooting under $300 from Amazon? If possible, what kind of lighting did you use in this video? Thank you.
To that first question I think it's more so about how you use the light that what specific light. I bought a 'smallrig" battery powered light on Amazon for like 150 and also a GVM light too. When you purchase think about if you will be out and about and need a power source or if you will be home doing videos. Good luck on your journey 😊
Would love to know your camera settings! I’m filming in an indoor space and found I’m using under 10% light on a Amaran 200X to have perfect exposure (filmed F4 slog3). I always see things like this and the lights seem way brighter.
I use this light with the Godox 90cm travel series light dome , they are not so deep and so take up less space , but do have an internal baffle to spread the light onto the final diff , it really helps to avoid hot spots and create a softer light by filling the 90cm diff evenly . But you want to use both for sure , not just the internal one. The G300 is a great light though , super small and easy to travel with.
@@markbone Thanks Mark. I have a Nanlite 90 Softbox that I plan to return because I couldn't find ANY suitcase that was long enough. Going to do a doc in South Africa and I like this setup, so I am gonna return by Nanlite stuff for this. Was curious how you got a 30"+ soft box to fit. Would you mind linking the suitcase?
Is the CCT adjustable is max mode or is it stuck at 4400k? The G200 goes warm in max mode but you can adjust the CCT. Thanks for another amazing video btw!
For max mode the fan really starts kicking in after some time not instant so to show us the fan noise it should run for at least 10 minutes straight on max mode
Great content, as always! I have a quick question: I have a SafePal wallet with USDT, and I have the seed phrase. (alarm fetch churn bridge exercise tape speak race clerk couch crater letter). How should I go about transferring them to Binance?
you really sold me on these lights! a B&H affiliate link would be nice the kelvin is adjustable right? since you didn't mention it, do you shoot 99% at 5.600k ?
3 місяці тому
G300 is great but quite magenta drift and no battery power options
Yes, Zhiyun did provide these lights for me to use. But you’re right it was an oversight not mentioning that! The video had the advertising warning though for that reason. They didn’t have approval of what I said about the lights though. Thanks Alpha Films.
There’s something much better than CRI or TLCI: and it’s SSI (spectral similarity index). It rates light color accuracies based on their closeness to the standard of sunlight (100 SSI). (and I believe true tungsten is also 100 SSI but I’m sure someone will correct me if I’m wrong about the tungsten part)… the average bicolor light in SSI is rated in the mid 70s for daylight and high 70s to low 80s for tungsten. Except the amaran s series lights (60x s, 100x s, 200x s) are remarkably color accurate at almost 90 ssi in tungsten (3200k) and 80-something for daylight (5600k), which was unheard of in LED lights prior to that.
Even TLCI is not really representative of the entire colour spectrum. SSI is a better measure and probably the best we have right now. Gerald undone and Curtis Judd explain it well and have ever since used it as their gold standard for colour testing in lights.
61,000 Lux at 3 feet how is that possible? That is over 5,000 FC. Standard 4K HMI puts out on average around 3,000 FC or 32,000 Lux. Are you telling me that small light is twice the output of a 4K. There is no way that is insane. how many volts does it draw?
Here's a teaser for the Documentary with CBUM I'm talking about in this video. Let me know if you want a breakdown on this video and I'll do a shot by shot tutorial. Leave your questions! ua-cam.com/video/uxtkDU2pliY/v-deo.html
Yes we need a full break down! This footage looks amazing.
I'm trying to establish a minimalist kit like what your talking about i would love to see a vid on this.
Let’s do breakdown tutorial please
I want mark bone to teach me this kind of stuff, interview videos, and short documentary videos 😢
mark the mode that you have mentioned that it pulse to music, it would come handy in suspense thriller or even in horror films, i guess.
Can’t believe I started watching you Mark with about 50 subs on UA-cam. But hard work and great tips always wins! Thanks for providing useful insights!
Celebrated 6yrs of UA-cam 4 days ago!
Thanks for being around since the start!
Epic dude! Can’t believe it’s 6 years already haha🤯
Yay! Really, it's surprising how often we'll find top pros making great light with simple tools. I remember in the late 1980s learning portrait lighting from Nancy Brown, a former NY fashion model who had a long career making photos for lifestyle stock and beauty photos for cosmetic companies like Revlon. Her basic setup: a small graphic designer's white desk, three sheets of 4' x 8' Fome-Cor board (left, right, background), three flash heads. She got lots of her props from thrift stores and many of her models were friends and neighbors - she would shoot in their homes and on their property. I loved her book, Photographing People for Advertising - her spirit was so generous (like Mark Bone) and her ideas were so much fun.
i'm now a big fan of using a big umbrella instead of a softbox. i just bounce my key off the inside of the umbrella and through a sheet of diffusion. looks just like a book light, but faster, more compact, and on a single light stand. 👍
do you find though the light spills into the room more?
@@markbone it can,, which is one of the downsides, but you can adjust the angle of the umbrella in relation to the subject, OR use a smaller umbrella
@@DanielEarl Barn doors help a bit in this regard too.
How come you only one light stand. How about the diffusion sheet/5 in 1 diffuser ?
Probably talking about those umbrellas that have a diffusion sheet on them as well like a Godox UB130W. Beautiful soft light but yeah the spill is massive compared to a gridded softbox
You just changed my life with that bowens mount tip
You learn this trick by necessity the first time you mount an extra-large softtbox on an already mounted light! :)
The amount of times I've done it when the light is already rigged. HA! I feel like a fool. Such a useful tip.
AOD member here. The tip about the Bowens mount...bro. I've been looking for that tip for YEARS...even searching for "how to" and couldn't find anything. Thank you. Thank you. Thank you.
Was wondering if you were gonna do videos with the Bumstead doc footage. This makes me so happy. Worlds colliding having my favorite creator working with my favorite athletes. Looking forward to the film!
I'm going to speculate that this film is the reason I ran into you at the airport in Orlando. 😂 It was great meeting you, Mark. I can't wait to see this film!
seeing urs, crazy! and also seeing you in those urs videos a while ago...simply combines my two passions with each other!! thank you for all the knock ledge, you, Peter Mc Kinnon and Danny Gevirtz simply taught me everything I know about cameras! :)
Been using the G200 and a G300 for the past few months. The space and weight savings are so important to me now and have made me rethink my long term lighting plans getting Aputure kit etc.
is there a huge difference between the 200 and 300w ? Should i upgrade?
One of biggest icks (besides the word ick) is watching someone try to put the softbox on the light once it's already on the stand so made me smile when you mentioned that
Hahaha. This was me for many years 😅😅😅
I've never click so fast haha. Was waiting for this "light travel gear" video!
Been filming a documentary in France this summer and it was a heck of a challenge! Thanks for all those advice Mark !
Thanks Geoff! Crush your film in France!
The light through the window has been interesting......especially how you noted that you can accidentally create the feel of moonlight.
tHanks for the video
As a film maker and big bodybuilding fan. So psyched to see what you’re filming with Chris, Urs and the whole classic physique division. Bravo man!
the classique physique gang are real ones! loved filming all of them
Was pleasure working with you guys in Vegas ;)
Always innovating to be minimalist without loosing quality, always my goal
Maaaaaan..... I'm so hyped about the cbum doc ❤
Me too
This is great! Love the MolusG300. Really small setup.I just made a video where I pack 4 lights, camera package, light stands, and tripod in two carry on bags. Doesn't look as good as this though! Great job!
great setup man!
that lighting loooks so good
Cool! Never thought about adding another diffusion after the softbox.Definitely gonna try it! Cheers from Brazil.
Great video. OMG… the bowens light mount trick… 🤯 I’ve done it before and wondered why I don’t do it all the time 😂😂😂 thanks for reinforcing it on me now!
The thing photographers / videographers seem to understand the least nowadays is the role of SHADOWLESS FILL LIGHT as the foundation of any lighting pattern. That wasn’t the case back in the late 1960s when I first tried to shoot studio portraits because back then everyone used negative film which had to be exposed for the shadows.
I first learned to use Fill back in high school from a Kodak “How to Make Portraits” book which suggested placing a fill light directly behind and above the the camera on the camera axis. The reasoning behind this placement is that if the FILL creates any shadows the camera sees you’ll wind up with dark distracting voids and a patchy looking pattern of shadow detail. With digital sensors any voids in the fill light wind-up filled with all noise / no signal. So the ‘flatter’ i.e. shadowless the fill is the better and keeping the FILL centered and raising it above the heads of the subject so their head shadow falls back behind the body and isn’t seen.
In 1972 I when to work assisting Monte Zucker, then the top PPofA wedding photography instructor and author of the monthly column on wedding photography in the PPofA magazine The Professional Photographer. He had become renowned for introducing the technique of off camera electronic flash to shooting weddings and being able to record a full range detail in every flash shot by also using an identical FILL flash mounted on a bracket over the camera. If shooting from 11ft at our Fill flash was also at 8ft and testing showed that f/8 produced detail in black suits at that distance. Then it just a matter finding the distance needed for an OVERLAPPING Key flash to expose the huge white bride’s dress perfectly which with negative film was making the key light one-stop brighter than the fill optimally exposing the shadows.
Per the inverse square law a light moved from 16 > 11 > 8 > 5.6 > 4 feet will double intensity (one stop) with each move. So if shooting from 11ft @ f/8 we placed the identically powered Key light at 8ft. If needing tighter in-camera crop we moved in to 8ft, moved Key light to 5.6 ft and closed aperture to f/11, for close-up camera and Fill move to 5.6 ft, key light to 4ft and aperture to f/16 to keep exposure and aperture exactly the same. It controls exposure and ratio far better than TTL meter, especially in situations where many different subjects with different reflectance clothing and complexions sit down in front of the lights.
Starting in 2000 when I got my first digital camera with histogram and highlight clipping warning I realized the easiest and fastest way to set lights was to drape white and black hand towels over the gray card I used for WB and then:
1) set aperture on lens for desired DOF
2) put FIILL centered above subject head on camera lens axis and raise its power until detail texture was seen in playback in the darkest parts of the black towel.
3) Turn on the Key light and raise it until white towel was triggering clipping warning then back off 1/3 stop.
What that 1-2-3 procedure does is adjust the contrast of the lighting EXACTLY to whatever the DR of the sensor is. For any given ISO speed the amount of fill needed will be pretty constant regardless of the sensor’s DR because ISO speeds are based off of recording shadow detail. What will change as DR of the sensor gets greater is the amount of Key light added on top of the fill where the two overlap needed to clip the highlights on the white towel.
Why use towels instead of flat cards? Texture. It is much easier to visually judge highlight and shadow exposure based when texture is recorded in shadows and highlights. Also the loops in the fabric create specular highlights similar to the way hair does which makes it easy to see when Key light intensity is obliterating the specular highlight clues to 3D shape on nearly flat white surfaces.
Once you try lighting first with centered fill you’ll be able to see why putting the Fill source off axis is a bad idea-any where fill and key light shadows cross or can’t reach - smile lines, corners of mouth, inside of mouth when open - become noise filled voids.
I'm glad you are in cahoots with the Cbum. It seems that his rise in popularity is deserving of your team's skills.
( Yeah I'm allowed to use cahoots if you can grab an old hockey bag for the trip.....It's 80 degrees outside! Canada is that way! Where the hell are we supposed to find a hockey bag around here? Cahoots it is ).
hahah cahoots
i love mark bone
He also has strong feelings for his friend Zach
One more incentive to watch the C-Bum Documentary
Placing the light on the ground with a simple twist and click is a big brain move
lol, i fumbled around for years
I use a 200 on lantern and a 60c panel w/softbox, does 80% of what I need! Lantern points up for a wrap around key and rear fill, and the 60 is normally a hair.
💯
Great look inside your lightning setup 🔥 I will definitly try the extra reflector infront of my keylight 👍 So excited for the cbum documentary!
Oh great - I‘ve been waiting for this to come out 🎉
I had a great time with you guys in Berlin, tagging along and filming the BTS.
That lighting packing packed down small and has some oomph 🤞
I remember Tad moving that dumbbell tower to finesse the wide shot 😅
Thanks again for bringing me along 🙏
Love the video, thanks for your insight Mark! In my experience, the lights/cam/lenses are the easy part when traveling - it’s the stands that kill me.
Genuine question, why did you opt for relatively large c-stands for your travel kit? Were your compact lights + softbox too heavy for those compact carbon-fibre style stands? (ie. Manfrotto mini compact, etc). Probs could’ve save a suitcase 😅
Good Stuff. Double diffusion is "the thing". Looks great.
certain! super soft
you can adjust colour temp in max mode too
Great to see you on here again, Mark. Have you experimented with changing the color temp of your keylight to something like 4500 and then setting the WB in-camera to the same to further create color contrast between your subject's skin tone and background in natural light settings? If not, your color looks great without it but I just wondered.
So did you buy these yourself? Where you sent these and could keep them? Do you have to return them at the end of your review? Can you clarify the relationship and arrangement with Zhiyun?
Definitely don't mean to nitpick, but SSI (spectral similarity index) and the TM-30 color rendering index are both much better color render estimators than TLCI. Though that being said, I do still use TLCI to check out how a light will render specific colors that I find to be pivotal, like red or blue. So they're all helpful!
Awesome video. I'm really impressed by what you can do with just two lights. And the form factor and how condensed the whole thing is makes me quite envious.
Thank's for the video Mark! Can you suggest me your tripop+fluid head solution for travel?
Hi bro. What is the best lighting for UA-cam video shooting under $300 from Amazon? If possible, what kind of lighting did you use in this video? Thank you.
To that first question I think it's more so about how you use the light that what specific light. I bought a 'smallrig" battery powered light on Amazon for like 150 and also a GVM light too. When you purchase think about if you will be out and about and need a power source or if you will be home doing videos. Good luck on your journey 😊
If I didn't have the amaran 300c I would definitely go with these lights. I just don't want to deal with 2 different systems.
Would love to know your camera settings! I’m filming in an indoor space and found I’m using under 10% light on a Amaran 200X to have perfect exposure (filmed F4 slog3). I always see things like this and the lights seem way brighter.
When is the documentary ready to be watched and where? Looks sick!
late 2025 is the goal. Unless either @netflix @amazonprime @hbo or @apple have something else in mind 👀
cool set up for travel. is your soft box double diffused?
is there a way to power these with V/gold mount batteries? Thanks for the pro tips mark!
Why did u double diffuse the light and not throw it onto the opposite side of the guy, to bounce some light and fill just a bit some shadows?
Great stuff as always Mark! Does that softbox have a double layer of diffusion? Just wondering if yes you would need the external one
No
I use this light with the Godox 90cm travel series light dome , they are not so deep and so take up less space , but do have an internal baffle to spread the light onto the final diff , it really helps to avoid hot spots and create a softer light by filling the 90cm diff evenly . But you want to use both for sure , not just the internal one. The G300 is a great light though , super small and easy to travel with.
you can carry 2 reflectors in the suitcase by puting one inside the other.
Quick question, for key lights, what intensity did you set?
Awesome work! Thank you!
Did you really use one of your LUT for this interview ? If you did, which one especially ? Love the grading
I knew I saw you in his video!!!
;) good catch
Well Done buddy!, what lens did you use for this video? 35mm??
Hey Mark, how long is the 90 Soft-box WHILE in the case? Trying to figure out if my suitcase is long enough to hold it!
Or link the suitcase you use :)
I brought the soft box to Canadian Tire here in Canada which is like Home Depot and just tried different suitcases but I can link you one tomorrow!
Check out the Godox travel series , they are shorter and easier for traveling .
@@markbone Thanks Mark. I have a Nanlite 90 Softbox that I plan to return because I couldn't find ANY suitcase that was long enough. Going to do a doc in South Africa and I like this setup, so I am gonna return by Nanlite stuff for this. Was curious how you got a 30"+ soft box to fit. Would you mind linking the suitcase?
How do you like the LightBridge system since you like emulating realistic sunlight coming through windows?
Is the CCT adjustable is max mode or is it stuck at 4400k? The G200 goes warm in max mode but you can adjust the CCT. Thanks for another amazing video btw!
how many dbs does the light put out in full mode?
For max mode the fan really starts kicking in after some time not instant so to show us the fan noise it should run for at least 10 minutes straight on max mode
Great content, as always! I have a quick question: I have a SafePal wallet with USDT, and I have the seed phrase. (alarm fetch churn bridge exercise tape speak race clerk couch crater letter). How should I go about transferring them to Binance?
lol. I love the UA-cam BOTS
Me & My brother is a big Calvin & Hobbes fan.
you really sold me on these lights! a B&H affiliate link would be nice
the kelvin is adjustable right? since you didn't mention it, do you shoot 99% at 5.600k ?
G300 is great but quite magenta drift and no battery power options
Dumb question: Can you achieve similar results using the smaller G60 with a softbox and diffuser? Or does the G60 not have enough power?
All depends on the ambient light of the room
this feels like a zhiyun advertisement... i prefer when the cooperation is mentioned in the beginning..
Yes, Zhiyun did provide these lights for me to use. But you’re right it was an oversight not mentioning that! The video had the advertising warning though for that reason. They didn’t have approval of what I said about the lights though. Thanks Alpha Films.
4:10 thanks for that lol
🫡
I love it!!
You didn’t even watch the whole vid yet you commented this at 2 min of it been posted
@@JulianBeverly I still love it though?
Anyone know the Kupo stands he's talking about?
When does the Cbum doc release
late 2025 is the goal
used Deepseek now
I was today years old when I realized I was a goof for mounting my softboxes the hard way
😂
There’s something much better than CRI or TLCI: and it’s SSI (spectral similarity index). It rates light color accuracies based on their closeness to the standard of sunlight (100 SSI). (and I believe true tungsten is also 100 SSI but I’m sure someone will correct me if I’m wrong about the tungsten part)… the average bicolor light in SSI is rated in the mid 70s for daylight and high 70s to low 80s for tungsten. Except the amaran s series lights (60x s, 100x s, 200x s) are remarkably color accurate at almost 90 ssi in tungsten (3200k) and 80-something for daylight (5600k), which was unheard of in LED lights prior to that.
I keep learning
Do you have some video tripods you can recommend?
504
which brand are the c stands/light stands referred to In the video?
Kupo
Hi everyone, which is the C-Stand that Mark mentioned? Kupo?
Yes Kupo
@@markbone thank you 🫶
what would this light compare to in terms of punch? Nanlite forza 300?
more like a 600
Even TLCI is not really representative of the entire colour spectrum. SSI is a better measure and probably the best we have right now. Gerald undone and Curtis Judd explain it well and have ever since used it as their gold standard for colour testing in lights.
too many acronyms
your (obvious) brand deal
they sent the lights, i liked them.
What’s the mic?
which one?
@ on the boom at the gym. Thanks!
Urs is a baddie 😂😂😂
💯
I get around 7 hours of sleep on average. But 3-4 hours of sleep on average before the shoot day.
61,000 Lux at 3 feet how is that possible? That is over 5,000 FC. Standard 4K HMI puts out on average around 3,000 FC or 32,000 Lux. Are you telling me that small light is twice the output of a 4K. There is no way that is insane. how many volts does it draw?
you FORGOT to mention its an ADVERTISEMENT
That exit put me to sleep…
This is just a commercial, so annoying