I love the bathroom setup. I have been seeing the CRLS super popular as well. I love that Godox made their own more affordable version, shoutout them for sponsoring your video! ❤
It's a great technique. Its the modern day version of the old trick of bouncing a leko style spotlight into a beadboard or piece of ultra bounce. A lot more control with Lightbridge though. Great video dude.
At last someone explained what is the reason to used CRLS and Godox reflectors. I actually figured that out some time ago, but all the videos on YT covering that topic looks like the authors do not have a clue why they use them. They show some unrealistic use cases and talk some gibberish :D. Great video. I wish godox send me their set. I even contacted them asking if they can rent me this (cause it's very expensive for 2nd world country citizen) but zero replays 😅😅😅
When he said " the more u care about it...the more ull realise all the little details that make or brrak the shot" i looked at myself n luaghed...never satisfied
Welcome :) It’s a different quality of light. Also couldn’t place it to get the same result since a big softbox couldn’t fit where it needs to (height) because of ceiling and size
Nice vid. One thing I 'struggle' wiith is the area they cover. So if a 1m board is projecting close to parrelel beams then one meter of the set is lit - so if the set is 4m.. then 3/4 is not hit by the light? Thats the thing about the sun.. both the parrelell beams but also it will shine through all 10 south facing windows of a building at the same time?
@@sammorganmoore Yeah haha i feel you. Makes it tricky sometimes. Idk if i get your last question right. But yes since the sun is so far away and huge it obviously hots thru alls windows with a parallel beam. In film lighting you would choose one each window
@@jaredfilms Yes, We agree the sun goes through 10 windows, or one 4m wide or whatever. But with a 1.1 board.. then (for a close to parralel beam) the lit area is 1.1m, on set I often see boards that seem about 50.50cm and assume they light 50cmSq which means they are really of little use for wide or moving shots? For sure I can see a 50cmSq board is geat for maybe a coffee still life to make 'morning' but on nattartive where the subject moves.. Im a little lost .
depends on how close or far away you have the light shining into the CRLS but also how close the board is to a scene. Of course the beam angle can be relatively small if it’s close by too. Obviously having a bigger board helps in the first place but remember the inverse square law? Also different diffusion levels on board such as Diff1 or 2 may already have a slightly bigger spread than hard mirror.
@@jaredfilms Onece the board is diffusing it seems that the beams are no longer parralel and your 'sun look' is lost.. you might as will use a light through some diff. (of course if you want your source 4m up then placing a mirror there and the fixture on the ground is easier/safer) But im still struggling to see this working for lighting scenes not tiny areas. Ive been on (an amzon) set and a mirror made a lovely hair light.. but the talent was not moving.
@sammorganmoore check 6:40 100cm CRLS DIFF 1 and the area lit was way more then just 1x1m and definitely sold as sunlight. Of course you typically light for the space and not just the face. Of course there are sweetspots but that’s for the DP to place and block them or DP tells you where to angle the light into/ where he wants the best light to fall. Actors still could lean forward and so on
Yes and no. Yes you will get a higher beam angle and the light will travel a longer distance making it harder. However it’s breakable and not easy to adjust (which you will want) or rig which isn’t the safest either. Also they are a lot heavier. You‘re also missing out on different diffusion levels giving you different effects on spread which with CRLS is really easy since they’re easy to interchange. They’re also designed and engineered to give you as little loss in output and quality as possible. There are already 4x4 mirrors Hard/soft which I‘ve used too and they’re pretty cheap to rent too. See here 03:52
I’m new to using set.a.light 3d, how do you get set ups where you’re outside the window? Are those different assets that you need to import? Thanks, great video!
@@Christensoncardioclub Appreciate it! I just built a room/walls within a studio room and added windows to them. No 3rd party assets. I do have the asset importer alongside the studio licence which let me import vehicles and other elements i can’t find but need
I love the concept of this video but I feel like I needed more practical examples. You kinda showed us the setup but not the full space or blocking, so in comparison I was left disoriented and confused on how these actually changed your shot. It also felt like you didn't solve a lot of the problems you mentioned? Like the reflectors still need to be on risers in the air same as the light, and while it is somewhat safer it doesn't fix the problem, and the light is still far away on the ground, which doesn't fix the problem of the intensity of the light. Not trying to be mean just wondering how this solution addresses those issues! It seems like a great tool it was just hard to see the practical effects without a before and after of scenes.
I see you point! As an insider I haven’t thought about the examples being clear enough. So definitely valid. Gonna make more videos about CRLS which are going to be more practical. In one of the examples given we would‘ve had more output if we put the light directly on the wind up. However these windows were quite high for us to get the angle needed. The C-100s made this angle possible. For this project we didn’t have condors or long john‘s available. Also wouldn’t like it too much putting those heavy lights up on an wind up at 4.20m. If that helps for now. Should’ve broken down some scenes better and in detail!
@@jaredfilms No worries! I left the comment bc feedback is necessary and I think you've got some good ideas. As a filmmaker breakdowns beat all other things. Show me how, why, and what it would've looked like without it and as many examples as possible. Hands on learning is really the best tool in the film industry so if you can get us into the scene with you as much as possible then we can learn just as much! And thanks for the explanation, that helped my understanding a ton!
working with reflectors / mirrors is nothing new. CRLS system is one of them, but they basically put a lot of effort and knowledge into it, perfecting this whole eco-system, making a ton of education tutorials of how to use them, how to improve your light quality and so on. therefore, its pricey, yea, but you can rent them or just use just a few reflectors (like #2 is THE workhorse IMO) + acrylic mirrors in different sizes, if its about low / no budget projects. the crls system is aimed at professional shoots, so money isnt that problem. the point is: godox was not just "inspired" by CRLS - they stole the design of the whole system and made a 1:1 copy of the whole system. for just being a copy cat without any real brainwork, the godox reflectors are way to expensive. its better make a DIY solution - just my 2 cents
I love the bathroom setup. I have been seeing the CRLS super popular as well. I love that Godox made their own more affordable version, shoutout them for sponsoring your video! ❤
Thanks for the love man!!
I can't wait to play around with this stuff.
It's a great technique. Its the modern day version of the old trick of bouncing a leko style spotlight into a beadboard or piece of ultra bounce. A lot more control with Lightbridge though. Great video dude.
yes mate 🙌🏽
I love the knowled liteflow kit. I try to use them every job, and even use them to redirect sun into my house when it gets too dark
@@Cinegavo Haha, where do you live?!
@@jaredfilms new Jersey, US. not that it gets dark too early yet, but my room gets super dark compared to the rest of the house haha
Your video really is making me seriously consider trying the system, good job and thank you.
You should! Thanks haha
Thank you so much ...i love crls already
At last someone explained what is the reason to used CRLS and Godox reflectors.
I actually figured that out some time ago, but all the videos on YT covering that topic looks like the authors do not have a clue why they use them. They show some unrealistic use cases and talk some gibberish :D.
Great video. I wish godox send me their set. I even contacted them asking if they can rent me this (cause it's very expensive for 2nd world country citizen) but zero replays 😅😅😅
Quick tip the “Godox CRLS mount” also fits on the CRLS and is 10x cheaper;)
Ohh you mentioned it 😅…
@@VLK2024 😅
Thank you for creating this video. Just WOW! Such a creative idea for low budget capture. I had no idea this tech has become so much more affordable.
Glad it was helpful!
Very informative, thank you! Subscribed
@@edengate1 Welcome! :)
Great video dude!
love your color grade
thank you
DEFINITELY suggest making some kind of “how to” follow up for this video!
I’d love to see and hear your process with using these
Noted! Would you want it more to be a raw type BTS experience with live thoughts / sharing my process. Planing vs execution?
Yeah that would be dope to see 🙌
Really enjoyed this video!
Happy to hear :)
Didn't realize before how good 1.5:1 ratio looks on a MacBook
WOW your talking head setup is beautiful!
Thank you!
Great Video!
thanks!
Genius!
Hi! Thanks for your video! What program is that on 01:31?
Very practical sharing! And I have a question, what is the software that simulates lighting that appears in the video
@@oliverharry8514 set a light 3d
What app?
very nice room light setup, did you put some neg on your left creating shadow? sorry if you explained that already in some video
@@RafalGendarz No, just painted my wall brown, no add. floppy or such. Also haven’t broken down my youtube lighting setup so far
When he said " the more u care about it...the more ull realise all the little details that make or brrak the shot" i looked at myself n luaghed...never satisfied
pretty real hahah
Have to sub, thanks for teaching many great things. I have a dumb question, why not use a softbox as a key light ?
Welcome :) It’s a different quality of light. Also couldn’t place it to get the same result since a big softbox couldn’t fit where it needs to (height) because of ceiling and size
Hey mind trying a car scene in afternoon sun and only using the Godox to bounce in light for the car interior?
yes, I might
what lighting program were you using with that window light? to previs lighitng
set a light 3d
Note. Only film in first floor locations. 😂😂❤
yeah makes things so much easier
Nice vid. One thing I 'struggle' wiith is the area they cover. So if a 1m board is projecting close to parrelel beams then one meter of the set is lit - so if the set is 4m.. then 3/4 is not hit by the light? Thats the thing about the sun.. both the parrelell beams but also it will shine through all 10 south facing windows of a building at the same time?
@@sammorganmoore Yeah haha i feel you. Makes it tricky sometimes. Idk if i get your last question right. But yes since the sun is so far away and huge it obviously hots thru alls windows with a parallel beam. In film lighting you would choose one each window
@@jaredfilms Yes, We agree the sun goes through 10 windows, or one 4m wide or whatever. But with a 1.1 board.. then (for a close to parralel beam) the lit area is 1.1m, on set I often see boards that seem about 50.50cm and assume they light 50cmSq which means they are really of little use for wide or moving shots? For sure I can see a 50cmSq board is geat for maybe a coffee still life to make 'morning' but on nattartive where the subject moves.. Im a little lost .
depends on how close or far away you have the light shining into the CRLS but also how close the board is to a scene. Of course the beam angle can be relatively small if it’s close by too. Obviously having a bigger board helps in the first place but remember the inverse square law? Also different diffusion levels on board such as Diff1 or 2 may already have a slightly bigger spread than hard mirror.
@@jaredfilms Onece the board is diffusing it seems that the beams are no longer parralel and your 'sun look' is lost.. you might as will use a light through some diff. (of course if you want your source 4m up then placing a mirror there and the fixture on the ground is easier/safer) But im still struggling to see this working for lighting scenes not tiny areas. Ive been on (an amzon) set and a mirror made a lovely hair light.. but the talent was not moving.
@sammorganmoore check 6:40 100cm CRLS DIFF 1 and the area lit was way more then just 1x1m and definitely sold as sunlight. Of course you typically light for the space and not just the face. Of course there are sweetspots but that’s for the DP to place and block them or DP tells you where to angle the light into/ where he wants the best light to fall. Actors still could lean forward and so on
what is this 3Dprogram your using in the video to make you lighting diagrams?
@@jeremiahfelipe6386 set a light 3d
would i get similar results on a budget by using regular mirrors instead of that gear?
Yes and no. Yes you will get a higher beam angle and the light will travel a longer distance making it harder.
However it’s breakable and not easy to adjust (which you will want) or rig which isn’t the safest either. Also they are a lot heavier. You‘re also missing out on different diffusion levels giving you different effects on spread which with CRLS is really easy since they’re easy to interchange. They’re also designed and engineered to give you as little loss in output and quality as possible. There are already 4x4 mirrors Hard/soft which I‘ve used too and they’re pretty cheap to rent too. See here 03:52
I’m new to using set.a.light 3d, how do you get set ups where you’re outside the window? Are those different assets that you need to import? Thanks, great video!
@@Christensoncardioclub Appreciate it! I just built a room/walls within a studio room and added windows to them. No 3rd party assets. I do have the asset importer alongside the studio licence which let me import vehicles and other elements i can’t find but need
What lighting program is that?
set a light 3d
can you tell me the name of the song from beginning, i know you get that from musicbed , but i cant find it. thank you.
equinox by boda
@jaredfilms thank you ❤️
Nice content
Thanks! 😊
Ripped trapezius. Bet the dude is a indoor climmer, am i right ;)?
@@kingmuhu Hahaha thanks lol! calisthenics it is though :)
What is the name of the application you used to demonstrate lighting.
set a light 3d
What program did you use at 1:32 ?
set a light 3D
What is the rigging kit from godox that you talked about?
GK50 Multi Reflector Array Grip Kit
I love the concept of this video but I feel like I needed more practical examples. You kinda showed us the setup but not the full space or blocking, so in comparison I was left disoriented and confused on how these actually changed your shot. It also felt like you didn't solve a lot of the problems you mentioned? Like the reflectors still need to be on risers in the air same as the light, and while it is somewhat safer it doesn't fix the problem, and the light is still far away on the ground, which doesn't fix the problem of the intensity of the light. Not trying to be mean just wondering how this solution addresses those issues! It seems like a great tool it was just hard to see the practical effects without a before and after of scenes.
I see you point! As an insider I haven’t thought about the examples being clear enough. So definitely valid. Gonna make more videos about CRLS which are going to be more practical. In one of the examples given we would‘ve had more output if we put the light directly on the wind up. However these windows were quite high for us to get the angle needed. The C-100s made this angle possible. For this project we didn’t have condors or long john‘s available. Also wouldn’t like it too much putting those heavy lights up on an wind up at 4.20m. If that helps for now. Should’ve broken down some scenes better and in detail!
@@jaredfilms No worries! I left the comment bc feedback is necessary and I think you've got some good ideas. As a filmmaker breakdowns beat all other things. Show me how, why, and what it would've looked like without it and as many examples as possible. Hands on learning is really the best tool in the film industry so if you can get us into the scene with you as much as possible then we can learn just as much! And thanks for the explanation, that helped my understanding a ton!
@@cooperburns380 yeah no I appreciate the feedback :)
No Neil’e
Crls is $6k😂😂😂
working with reflectors / mirrors is nothing new. CRLS system is one of them, but they basically put a lot of effort and knowledge into it, perfecting this whole eco-system, making a ton of education tutorials of how to use them, how to improve your light quality and so on. therefore, its pricey, yea, but you can rent them or just use just a few reflectors (like #2 is THE workhorse IMO) + acrylic mirrors in different sizes, if its about low / no budget projects. the crls system is aimed at professional shoots, so money isnt that problem. the point is: godox was not just "inspired" by CRLS - they stole the design of the whole system and made a 1:1 copy of the whole system. for just being a copy cat without any real brainwork, the godox reflectors are way to expensive. its better make a DIY solution - just my 2 cents