squig

Back to the mines kids.

Just to clarify, $200 a day is for indie narrative work here. Commercial work pays a lot more as it should.

Fark! In Aus the union rate is just over $200 a day, that's under $200 a day $USD! Jonesy you didn't mention what kinda project? I've had very talented actors work on my shorts gratis. I've sometimes reciprocated and shot shorts for actors reels gratis. Up and coming actors here generally have really shit reels, so they're hungry for anything that showcases their talent. Barter is a thing. But actors do tend to lose interest fast if they're not paid and fed well.

I said "LEDs like the 120T" meaning LEDs in the 120W range. I obviously haven't tested a 120T nor had I seen the specs at that time. It does look very underpowered for a 120W LED. My 72W LED panel puts out 8000 lux at 1m, and the tiny Aputure AL-H198 is around 1000 lux at 1m. Aputure stated the 120T is in the 1500W (tungsten equivalent) range, and yet it turns out it's rated at 2500 lux at 1m. On their site they have this to say about the LS1: "Light Storm LS 1s appears with about 30000lux in half a meter（1.64ft, which is almost equal to a traditional 1000W tungsten." Here's the LS1 specs- For comparison these are the specs for the Ledgo LG100FA- Oh and thanks a lot for the effort to make me look disingenuous @tupp. Much appreciated.

How does the 1080p look? Any aliasing? If you have a few minutes to test the 4K and 1080p 24p rolling shutter it would be most appreciated http://www.dvxuser.com/V6/showthread.php?303559-Measuring-rolling-shutter-put-a-number-on-this-issue! Vimeo link?

Dual ISO mode. It's great for stills, 2 stops more DR. But there's a lot of aliasing in raw video mode. You getting the 5K or 6K Terra? Looking at the specs it doesn't look like the 5K Terra records CDNG. So what I'm wondering is how are the Kineraw files going to talk to the usual suspect in post. Now their site's down.

Thanks. I like exceptional. The newer LEDs are quite controllable. I wouldn't rely solely on panels, I'm just about to invest in some 120w and 30w LED fresnels. The P180E is quite hard, as is the dedo DLED4.1 which is also focusable. The new Aputure fresnels and the Litepanels Caliber look like good 150w Tungsten replacements which are light enough for the forthcoming gimbal kiddie tunnel tracking shot. An actress will be holding a Tilley lamp, but the lamp won't cast enough light on her face so I'm going to cheat it with a gimbal mounted P180E and an LED panel backlight cheating daylight like that sniper shot. I'm about to do some tests to determine exactly how I wanna light it. The beauty of LEDs is I can throw a bunch of them in my backpack, head into a tunnel with a mate, mess around, and save my money for beers afterwards. I'd need 4 people to do the same thing with tungstens, and a lighting test turns into a production. These new LEDs like the Aputure 120T can do anything a blondie or a redhead can do and run off a v-mount battery. I'm not a follower. Don't get me wrong, I love tungsten light, but over the last 12 months LEDs have really come of age, and affordable high quality LEDs are a viable tungsten replacement.

You're living the past mate. The future is here.

I backlit this with one of those, mine's a daylight version rated at 72w. Runs for about 2 hours on a 160w v-mount. Key and fill were done with an Aputure AL-H198 and a Fiilex P180E. Shot with a 5D MK3 ML raw @ 6400 ISO 1/48 f/5.6. That location is 2km from the nearest vehicular access point. We had a crew of two. Try doing that with tungstens.

Not when you add the cost of a generator and the crew to lug it up a mountain they're not. It only took one guy with a backpack to carry the 4 LEDs, batteries, and fogger I used to light a tunnel for 6 hours. Sometimes. But most of the latest generation 95+ CRI LEDs look every bit as good as tungsten. Unless you never plan to leave the studio, LEDs are the most versatile option.

The P180E is no match for the 120T, it only draws around 30 watts. I'm testing it against one of these suckers, not so much for output but for light quality. But I'll definitely check out the 120T and report back.

I've been lighting my films with LEDs since Moses was a boy. Believe me, I know what shit light looks like. When I unboxed the Fiilex P180E and lit up the shit on my desk it was an emotional moment. Finally a fucking LED that can do what nature's been doing for eternity! The Aputure H198 I've got isn't quite there, but I think the Aputure guys get it. I reckon they're freaks just like us/me. So I'm gonna grab one of their little fresnels and deathmatch it with the little Fiilex beastie. I've got a very nice 72W 90CRI vmount Chinese LED panel, but I really need a bit more throw. I had to push the 5D MK3 ML to 6400 ISO in an abandoned rail tunnel. It looks good but there's a big DR hit at such a high ISO. The 120T @ 120w, focusable, vmountable, 1.5k, (I'm betting more like 1k) and $600! sounds like just what I've been looking for. Problem with bi color and tungsten LEDs is there's a big throw hit. Daylight LEDs always have a bigger throw. You lose some throw when you gel them obviously but every digital sensor I've used loves 5600k, so I tend to take the path of least resistance.

Those little and big Aputure fresnels are just what I'm looking for to light my feature with. I've already got their little camera mountable LED panel: cheap, bright, and high CRI. The best LED I have quality of light wise is a fiilex P180E, but the damn thing has a noisy fan and costs as much as 3 of those little Aputure fresnels. Gimme!

It's daylight I'm after, just using the dedos as an example of size/power which would be around 30w on an LED. I'm after something in the 100w range too with a 12-15v input.

I don't think people in the west realise the Chinese film market is bigger than the US market. Kinefinity are on my radar.

With Trump and Clinton running for president developers are all busy designing war toys. The Kinefinity Terra could be cool. The specs and body are at least. I'm kinda glad there's not much on the camera front. Less testing, more filmmaking.

No way. Sounds like they ripped off the 416 design. I've got an NTG-3. My mic collection is gonna start to look like my lens collection. Seen any new LED fresnels other than the Came and Aputure? I'm looking for something like the old dedo 150w tungstens. Thinking of going for the Litepanels Calibers if there's nothing better at NAB.

You get people believe what they want to believe regardless of facts right? Disdain for working with a "hacked camera" is real, I hear it a lot. Care factor:

I shot heaps of shorts with the MK2. It has a bit more resolution than the MK3 shooting 8bit, but the aliasing was bad pre mosaic filter. This was my first (short) shot with Nikon ai primes, Iscorama anamorphics and nasty green cast LEDs.

Yeah all those films were made prior to ML raw, and there's a huge IQ difference between H.264 and raw on the 5DMK2/3. Since then the BMCC and BMPCC have been the crash/compact cams of choice for a lot of productions. I haven't heard much about Magic Lantern being used on big productions, I think mostly because of the hack stigma, and lack of knowledge about how good it is compared to the BMPCC in particular. Peppermint choc chip thanks.

Between Magic Lantern and the smallHD 501 I have all the gizmos I need, including playback. I am the producer and the director so I don't have to worry about anyone being demanding besides me. Nope no transcoding, Magic Lantern just spits out a 35mm print.

Well if you think booting an extra app is complicated then it's complicated. In actual fact it couldn't be any easier; no need to transcode like the bad old H.264 days.

Which one was the A cam? Yeah The Black Death is one of the films I was talking about. Looks great!

It's got an OLPF, no aliasing or moire at all.