Is it a common practice to fill in head-to-toe green using lights upside down like on 2:02 on both sides? I've been thinking about it for a while, haven't really tested anything yet. Thanks for your other green screen video, it worked great for me.
Sometimes you just want to add a little more light to even out the green so the waveform doesn’t dip on left and right😬 These units are not very strong or hard, so there is not much worry of spill on the talent, but I want to protect against that so I kept the grids in and aimed them towards just the area of green where I wanted more value. Hope that helps!
Love these BTS setup vids. Can you provide a follow up video to the Fiilex Q5 after you had enough time with it please? I got some and would love an in depth review. I remember you made one some time ago. I feel they’re overkill when a Aputure 300x is more my style. Q5 has lots of features, but I won’t use most of them for what I make (local commercials).
Andrew Lock just picked up a few of them, so we might hear a more in-depth review about them soon? For me they are like a sophisticated version of the Dedo’s and 60x, in that you get a focusable, cuttable, DMXable, tunable-white unit with the added bonus of full RGB. I find I use them all the time as filler units after we’ve taken care off the main, broad stokes, the Q5 is a handy for that little extra accent that helps make a scene pop.
@@meetthegaffer from my tests it cuts well and appears to have quality color. I don’t use DMX and I prefer to run off of 14v batteries instead on mains power if I can. With the Q5 needing 26v batteries, adds complication to my gear. It’s like needing a station to haul your family and buying a Mercedes instead of a Subaru: nice, but too much for what you need to do 95% of the time. Thanks again for the video and the reply. Looking forward to more videos!
I would wait for Andrew Lock’s review (Gaffer & Gear). My reviews are not that great, compared. What I can tell you is they are both working well for me and other Gaffers/rental houses in my area are also purchasing them. They have lumen radio built in, have good output and give me the quality of light I need whether I’m working in daylight or tungsten.
The back of the unit is louder than the front, so if you are not right up against your subject or using the units in a book light config, where the back of the unit might be even closer to the subject, you should be good. In this set up, we were MOS. For the stage shoot I mention in the post roll we were recording sound, but definitely far enough away for it to not be a problem. There are different fan modes that allow, for instance, 75% output with reduced fan noise, so you have options. It’s a lot of output and therefore a lot of heat to dissipate!
It’s a good question. The easy answer would be, “about half a stop”. But if you dig a little deeper, the type of diffusion you use has more nuance than just the amount of light output it takes away. For instance, technically, full grid might take away as much light as Magic Cloth, but there is a subtle difference to the quality of the light coming through these two different softeners. How that difference is appreciated or used in the field is between the DP and G&E to decide. If I know I have more output from a unit than I’ll need, I start with the heaviest, softest diffusion, short of tracing paper: usually magic cloth or 129. If I’m not sure where my output will land, I usually start with 1/2 grid or 250 and change it up from there. If I just want to take the edge off something, I’ll go with 1/2 soft frost or hampshire, and Opal is nice to have avail when hampshire is not enough of a difference. If the source we’re working on is a soft source, I would rather use diffusion to lower the intensity than dimming the unit, but these days with LED’s it’s often faster to dim, knowing you won’t be changing the CCT substantially. Hope that helps!
![ค้าง (STILL) - GEMINI [ OFFICIAL MV ]](http://i.ytimg.com/vi/Ftxx3hk5vkU/mqdefault.jpg)
Thanks for the video Luke, glad you got the Apollo Bridge up and running! :)
Thanks to you and a few others😉
That was fun. ☺️
😁
Is it a common practice to fill in head-to-toe green using lights upside down like on 2:02 on both sides? I've been thinking about it for a while, haven't really tested anything yet. Thanks for your other green screen video, it worked great for me.
Sometimes you just want to add a little more light to even out the green so the waveform doesn’t dip on left and right😬 These units are not very strong or hard, so there is not much worry of spill on the talent, but I want to protect against that so I kept the grids in and aimed them towards just the area of green where I wanted more value. Hope that helps!
Love these BTS setup vids.
Can you provide a follow up video to the Fiilex Q5 after you had enough time with it please? I got some and would love an in depth review. I remember you made one some time ago.
I feel they’re overkill when a Aputure 300x is more my style. Q5 has lots of features, but I won’t use most of them for what I make (local commercials).
Andrew Lock just picked up a few of them, so we might hear a more in-depth review about them soon? For me they are like a sophisticated version of the Dedo’s and 60x, in that you get a focusable, cuttable, DMXable, tunable-white unit with the added bonus of full RGB. I find I use them all the time as filler units after we’ve taken care off the main, broad stokes, the Q5 is a handy for that little extra accent that helps make a scene pop.
@@meetthegaffer from my tests it cuts well and appears to have quality color. I don’t use DMX and I prefer to run off of 14v batteries instead on mains power if I can. With the Q5 needing 26v batteries, adds complication to my gear. It’s like needing a station to haul your family and buying a Mercedes instead of a Subaru: nice, but too much for what you need to do 95% of the time.
Thanks again for the video and the reply. Looking forward to more videos!
Can you do review of 1200c and 650c lights? Please and thank you
I would wait for Andrew Lock’s review (Gaffer & Gear). My reviews are not that great, compared. What I can tell you is they are both working well for me and other Gaffers/rental houses in my area are also purchasing them. They have lumen radio built in, have good output and give me the quality of light I need whether I’m working in daylight or tungsten.
How come you didn't use a back light (hair light) for separation
We were given lighting guidelines in order to keep continuity with multiple cities doing the same set-up; backlights were left off the menu😉
How about the noise from the nanlux panel light? How loud are they if any. Thnx
The back of the unit is louder than the front, so if you are not right up against your subject or using the units in a book light config, where the back of the unit might be even closer to the subject, you should be good. In this set up, we were MOS. For the stage shoot I mention in the post roll we were recording sound, but definitely far enough away for it to not be a problem. There are different fan modes that allow, for instance, 75% output with reduced fan noise, so you have options. It’s a lot of output and therefore a lot of heat to dissipate!
What about Nanlux evoke 1200. Are you going to make a video about that one?
If it gets sent to me I will certainly talk about it.
What is the difference between magic cloth and say, 1/2 grid?
It’s a good question. The easy answer would be, “about half a stop”. But if you dig a little deeper, the type of diffusion you use has more nuance than just the amount of light output it takes away. For instance, technically, full grid might take away as much light as Magic Cloth, but there is a subtle difference to the quality of the light coming through these two different softeners. How that difference is appreciated or used in the field is between the DP and G&E to decide. If I know I have more output from a unit than I’ll need, I start with the heaviest, softest diffusion, short of tracing paper: usually magic cloth or 129. If I’m not sure where my output will land, I usually start with 1/2 grid or 250 and change it up from there. If I just want to take the edge off something, I’ll go with 1/2 soft frost or hampshire, and Opal is nice to have avail when hampshire is not enough of a difference. If the source we’re working on is a soft source, I would rather use diffusion to lower the intensity than dimming the unit, but these days with LED’s it’s often faster to dim, knowing you won’t be changing the CCT substantially. Hope that helps!
@@meetthegaffer Thanks so much Luke!
Does the Apollo Bridge work with Astera CRMX?
I can’t imagine why not! I haven’t tried it with Asteras yet, but can’t imagine why they wouldn’t work.
Yes it does
"simple setup" :D