Jump to content
Jonesy Jones

Aputure: the Blackmagic of lighting

Recommended Posts

EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

I think calling Aputure the Blackmagic of lighting is an insult to Aputure... as Aputure actually deliver working products within a timely fashion;-)

That said,  I own the LS1-c's and can confirm that they DO NOT exhibit any of the patterning that most bi-color lights do. I attribute this to the unique honeycomb arrangement of the leds. Put simply, the LS1-c's rocks! 

Share this post


Link to post
Share on other sites

We use the LS-1S, LS-1/2 (97 CRI), 528W, 528S, and H198, in daylight color. They all work great, especially for skin tones (better than our more expensive Dracast LEDs, which are only used for bounce/back fill now). Look forward to seeing the variable spot/Fresnels from Aputure (we use a Fiilex P360EX- very nice but not variable beam angle or very bright (can swap in/out the plastic Fresnel insert).

Share this post


Link to post
Share on other sites

Another Aputure user here. Great products and good price.

agreed though, they are only a lighting Blackmagic in terms of features for price. Other than that the comparison is unflattering :0

Share this post


Link to post
Share on other sites

+1

I love the Lighstorm. Planning on getting the fresnel. The bi-color does exhibit grid pattern if you don't diffuse the light AT ALL. But I always have at least a tiny layer of diffusion over it in and it solves the problem.

3 hours ago, Jonesy Jones said:

 

 

 

image.jpeg

 

This looks like the Briese 140, which is the industry standard for beauty lighting on commercials: http://www.brieselichttechnik.de/en/daylight/products-overview/focus/focus-140.html

Share this post


Link to post
Share on other sites
2 hours ago, AaronChicago said:

+1

I love the Lighstorm. Planning on getting the fresnel. The bi-color does exhibit grid pattern if you don't diffuse the light AT ALL. But I always have at least a tiny layer of diffusion over it in and it solves the problem.

This looks like the Briese 140, which is the industry standard for beauty lighting on commercials: http://www.brieselichttechnik.de/en/daylight/products-overview/focus/focus-140.html

Strange, we returned the Dracast due to very noticeable patterning. So strong it created a Venetian blind effect... even when defused. We have not noticed this at all on any of our LS1-C'S. And it is something we were specifically looking for with a very critical eye. Perhaps it's your lights?

Share this post


Link to post
Share on other sites
1 hour ago, DBounce said:

Strange, we returned the Dracast due to very noticeable patterning. So strong it created a Venetian blind effect... even when defused. We have not noticed this at all on any of our LS1-C'S. And it is something we were specifically looking for with a very critical eye. Perhaps it's your lights?

I thought so at first. I sent some screen shots to Aputure, as well as some user at BMCuser. They all said it seems to be typical. You can really only see it when you rotate the light.

Share this post


Link to post
Share on other sites
6 hours ago, DBounce said:

I think calling Aputure the Blackmagic of lighting is an insult to Aputure... as Aputure actually deliver working products within a timely fashion;-)

I don't understand the hate for BM. They brought us affordable raw AND prores. Who else was doing this? Arri, that's it. BM's goal is to make the best camera for prices we can afford, which reminds me of Aputure.

And making a camera is waaaaaay harder than making lights. Even I can make lights. Do you think BM is dragging their feet on purpose? Their only flaw is being over ambitious, and don't really see that as a flaw, plus, I think they are learning.

Also on a slightly related note, you want to know why NAB was 'boring' this year? BM! They have totally disrupted the industry and EVERYONE has finally taken notice and have decided to wait for BM, who has learned to wait until they're ready to ship before announcing. Now aren't those the makings of a great company?

But this thread is about Aputure and I only brought up BM because I think the comparison is valid. I see the similarities. I think Aputure may be just as disruptive for lighting and audio and who knows what else. I love Blackmagic for being the first and only company to bring me those level of products for prices I can afford. I love Aputure for the same reasons. 

Share this post


Link to post
Share on other sites
1 hour ago, Jonesy Jones said:

I don't understand the hate for BM. They brought us affordable raw AND prores. Who else was doing this? Arri, that's it. BM's goal is to make the best camera for prices we can afford, which reminds me of Aputure.

And making a camera is waaaaaay harder than making lights. Even I can make lights. Do you think BM is dragging their feet on purpose? Their only flaw is being over ambitious, and don't really see that as a flaw, plus, I think they are learning.

Also on a slightly related note, you want to know why NAB was 'boring' this year? BM! They have totally disrupted the industry and EVERYONE has finally taken notice and have decided to wait for BM, who has learned to wait until they're ready to ship before announcing. Now aren't those the makings of a great company?

But this thread is about Aputure and I only brought up BM because I think the comparison is valid. I see the similarities. I think Aputure may be just as disruptive for lighting and audio and who knows what else. I love Blackmagic for being the first and only company to bring me those level of products for prices I can afford. I love Aputure for the same reasons. 

There's no hate of BM... At least not from me. I have owned many BMD products so I speak as one of their customers. But I am sure you would agree that it is good practice in business as well as life to under-promise and over deliver as opposed to the opposite? And I'm sure we can all agree, that this whole "global shutter" thing, is really gonna look like egg on the face for BMD, should Kinefinity deliver on the promise of switchable shutter... when BMD failed to do so.

Share this post


Link to post
Share on other sites
30 minutes ago, DBounce said:

There's no hate of BM... At least not from me.

Then that's good to hear. But may I make a request from all of us, that we phrase our critiques in a constructive manner. Words matter, even ours on forums like this matter. I sensed this strongly this year at the BM booth. And if we're not careful some may get their wish and disruptive companies like BM may go away or just stop making cameras (Samsung anyone?) and leave us with the Canon's of this world who if it was up to them would still be charging $15K for 60p at 720 res. Blackmagic NEEDS to hear our critiques and concerns, but in a way that does not contribute to a totally unfair stigma. Consider this, what if URSA mini was the last camera Blackmagic ever produced? Would that make everyone happy? I don't think this is the case, but I could very well be wrong. This past NAB was a total change in their pattern of behavior. We can only hope its for all positive reasons.

42 minutes ago, DBounce said:

But I am sure you would agree that it is good practice in business as well as life to under-promise and over deliver as opposed to the opposite?

Yes, but perhaps even BM thought they were under promising. With the exception of shipping dates, they have ALWAYS over delivered. And cameras are difficult. Just ask Red.

44 minutes ago, DBounce said:

And I'm sure we can all agree, that this whole "global shutter" thing, is really gonna look like egg on the face for BMD, should Kinefinity deliver on the promise of switchable shutter... when BMD failed to do so.

Ok, so here's some good recon. I spoke face to face with Kine guys like 5 times this year, and here's what I learned about GS. The hit to DR is not the only hit. A switchable GS is going to hurt the image in other ways, like base ISO and other ways that they did not mention, perhaps noise. AND GS seems VERY low on their totem pole of priorities. It's the redheaded step child on the feature list. So while they guaranteed me that GS would be there, will anyone actually use it? Keep in mind, there is no doubt BM could have activated GS on the UM46, but the hit to quality was probably just too great and they would have received even more backlash from users. It wouldn't be a surprise if the Terra had it activated just to say it's there, but at a cost that makes the GS unusable. I think that for the time being, you either need a GS or RS sensor, something perhaps Craft will get right.

The Terra 6K's RS is unusable to me, and the 'Sport Mode' is also NOT active and who knows what other motion artifacts that produces. But I'm rooting for these guys. I really liked them. So far, the design and specs of the 5K Terra look amazing. If the images follow suit, man, look out. 

Back to BM and Aputure, these guys are awesome too. They all need our love and healthy constructive comments to help them help us. That's what I'm suggesting.

Share this post


Link to post
Share on other sites

Question regarding lighting...

So, here is the situation, I have a shoot coming up... 

Scenario:

Mafia security like setting only its in a warehouse/abandoned building.

There are no windows in this shot so no natural light.

8 guys in black suits. 4 on each side, across, facing each other. I need to light a path to the end of the hall... I was planning to have a total of 6 fresnels... 3 on each side, basically 1 light between each person... 

Was wondering if 300W is enough? Should I go to 600/650W?

I think 6 - 1Ks may be too much?

BTW, I might have 2 - 900 LED lights that will be facing the camera...

Question because I have a week to film an entire warehouse scene, don't have time to mess around and experiment with the lights. Need to either rent or purchase lights ahead of time.

 

Editted to add: I will have pretty fast cinema lenses... Max ISO 2850, but I'd like to stay as low as possible. Might want shutter speeds of up to 1/2000 for slow-mo... But if the shots are too dark, I won't use the shots.

 

Share this post


Link to post
Share on other sites
1 hour ago, mkabi said:

Question because I have a week to film an entire warehouse scene, don't have time to mess around and experiment with the lights. Need to either rent or purchase lights ahead of time.

 

Editted to add: I will have pretty fast cinema lenses... Max ISO 2850, but I'd like to stay as low as possible. Might want shutter speeds of up to 1/2000 for slow-mo... But if the shots are too dark, I won't use the shots.

I'm sorry but I don't have the knowledge/experience to really be a true help, but I'll give you what I can.

If it were me, I would find a way to test ahead of time. Even if it's not the same location or whatever, have your best idea of what to expect on the day of the shoot. Also, it seems like this is supposed to be an intense scene, and for that, shadows and darkness are your friends. No need to clearly see everything. Maybe just half a face here and there and some silhouettes will be effective to the story. No need to open up all the way or crank up the ISO. Also, is putting your lights above pointing straight down a possibility? Like lights down an industrial hallway. That would kind of replicate practical lighting and again may add to the story. 

Lastly, if buying is the way to go, you could buy as many you may think would ever be needed, and then return the ones you don't open/need, but at least you had them there in case.

That's all I got.

Share this post


Link to post
Share on other sites
2 hours ago, mkabi said:

Question regarding lighting...

So, here is the situation, I have a shoot coming up... 

Scenario:

Mafia security like setting only its in a warehouse/abandoned building.

There are no windows in this shot so no natural light.

8 guys in black suits. 4 on each side, across, facing each other. I need to light a path to the end of the hall... I was planning to have a total of 6 fresnels... 3 on each side, basically 1 light between each person... 

Was wondering if 300W is enough? Should I go to 600/650W?

I think 6 - 1Ks may be too much?

BTW, I might have 2 - 900 LED lights that will be facing the camera...

Question because I have a week to film an entire warehouse scene, don't have time to mess around and experiment with the lights. Need to either rent or purchase lights ahead of time.

 

Editted to add: I will have pretty fast cinema lenses... Max ISO 2850, but I'd like to stay as low as possible. Might want shutter speeds of up to 1/2000 for slow-mo... But if the shots are too dark, I won't use the shots.

 

When I think warehouse I think of those greenish fluro tubes or old-school sodium vapour lamps. When I think interrogation i think bright white blasted at face or into lens.

I'd start with the atmosphere you want to create and the feel you want it to have and work from there. Also talk to your hire house, they'll be happy to meet with you and discuss options if you want to go through a scene and don't have the current knowledge to know off hand what to do.

They want your custom, they'll help you to give it to them. The more they help and the more experienced you become the more likely you are to become a loyal customer.

Also think about if your practicals will be useful, sometimes they are lifesavers, sometimes useless.

Share this post


Link to post
Share on other sites
1 minute ago, jgharding said:

When I think wartehouse I think of those greenish fluro tubes or old-school sodium vapour lamps. When I think interrogation i think bright white blasted at face or into lens.

I'd start with the atmosphere you want to create and the feel you want it to have and work from there. Also talk to your hire house, they'll be happy to meet with you and discuss options if you want to go through a scene and don't have the current knowledge to know off hand what to do.

They want your custom, they'll help you to give it to them.

I definitely want that intense look that Jones talked about. But, there will at least be 3 or 4 scenes with the same location and peeps...

The first scene, I really want the audience to see a revelation of sorts... just so they understand the magnitude of force the protagonist will be facing later.

If its too dark, the audience may miss the fact that there are 8 henchmen that the main character has to face...

Ultimately, I definitely won't have time to choreograph 8 separate executions, but I just want the audience to kinda gasp... "oh shoot, how is he going to get through that..." kinda feel.

Share this post


Link to post
Share on other sites
6 minutes ago, mkabi said:

I definitely want that intense look that Jones talked about. But, there will at least be 3 or 4 scenes with the same location and peeps...

The first scene, I really want the audience to see a revelation of sorts... just so they understand the magnitude of force the protagonist will be facing later.

If its too dark, the audience may miss the fact that there are 8 henchmen that the main character has to face...

Ultimately, I definitely won't have time to choreograph 8 separate executions, but I just want the audience to kinda gasp... "oh shoot, how is he going to get through that..." kinda feel.

Not sure how wide of a shot you'll be getting, but if you could get a giant piece of foam board to hang above and bounce a couple of 1K's off of that for a really flat illumination, then use some 300w or 650w fresnels to shape the actors and create some hard light. That way your dark areas are pitch black.

Share this post


Link to post
Share on other sites
7 minutes ago, AaronChicago said:

Not sure how wide of a shot you'll be getting, but if you could get a giant piece of foam board to hang above and bounce a couple of 1K's off of that for a really flat illumination, then use some 300w or 650w fresnels to shape the actors and create some hard light. That way your dark areas are pitch black.

Interesting. I'm not sure how I'm going to get my hands on a giant foam board, may be I can go over to homedepot and check out the insulation isle. Now, the question of how I'm going to suspend of the foam boards. Can't remember the height of the place, has to be well over 15 feet.

Worse case scenario is... I change locations and/or cheat the shit out of it, like I usually do.

Thanks guys.

Share this post


Link to post
Share on other sites
11 minutes ago, mkabi said:

Interesting. I'm not sure how I'm going to get my hands on a giant foam board, may be I can go over to homedepot and check out the insulation isle. Now, the question is suspension of the foam boards.

Yeah go to Home Depot and they sell like 12 ft x 5 ft pieces of white insulation for $15.

Not sure what you're budget is for this but you can order 25 foot telescoping poles for around $90. Get 4 of them. Stretch them out to full length on the ground. Tie a long rope between 2. Do the same for the other 2. Somehow secure the foam boards onto the 2 ropes via gaffer tape or bungie cords. Then have 2 people lift up the poles on both sides. The foam should be light enough where it would work.

 

If all of that is just too much trouble then I'd probably just shoot a couple of 1K's through some diffusion from the sides of the camera. Hopefully that'll look flat enough.

Share this post


Link to post
Share on other sites

They are a superb company. I own the Lightstorm LS & 2 Lightstorm LS 1/2 and they are well build and powerful. I run them off Sony batteries via a V-mount which gives them enough juice for a couple of hours. Can't wait to see what they come up with next.

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.

Guest
Reply to this topic...

×   Pasted as rich text.   Restore formatting

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.


×
×
  • Create New...