Thank you for the lessons, Luke! I always enjoy watching/learning. Recently shot a video. I was the on-screen talent. When looking at the interviewer, the lighting looked as intended...most of the time. However, when I would move my head around (normal gesturing), at times I could see the hair light reflecting off of my forehead (dang receding hair line). Unfortunately, I had already run out of stands, and had to live with it. Gonna have to get more gear...or get more creative.
Ha, ha! Yes, there is always something you could do better with more time, people, gear, or experience. But I figure if you are still learning then there is still interest and potential for enjoyment. Keep up the good work!
@@meetthegaffer There are two (2) primary joys in life; Growing & Giving. (Tony Robbins) It's pretty cool that TH-cam has afforded all of us both of these joys. Have a great weekend, Luke!
I'll echo another question. Using False Color, are you using approx 40 IRE for the green screen and 60 IRE for the talent? Also, where did you get the head at you use for a stand-in?
Yes, we had the green a little under talent and talent around 65 IRE. Try he head is just a $20 purchase off of Amazon. I went for a skin tone that was not too light and not too dark. It’s just a head used for practicing make-up or hair. Similar to this: www.amazon.com/dp/B08Y1JYJBB/ref=cm_sw_r_em_api_glt_fabc_1WZP3QEYQHQQ2HPH0C1H?_encoding=UTF8&psc=1
@@meetthegaffer Thank you Luke. I am currently setting up a green screen in my way too small extra room in the house and I only have a 5 foot separation between green screen and talent. Oh am I getting an education :p
@@meetthegaffer Hm. I'll look at that, never thought about it because of the space. Right now I have 1 Nova p300c with barn doors lighting the 13' screen from one side and a 300x with a light dome lighting the other side, and a nanlite 30" tube on the floor in the middle filling the center. For talent I have a 300x with a lantern for the key, a 60x for the fill and another nanlite overhead for the rim. I am considering getting another Nova just to be a bit more even and reduce the light dome interference with the camera. I just need more space.
I think the better comparison will be between the Nova 600c, Nanlux 650c, and Vortex 8. On paper the differences are obvious re IP rating, Sidus compatibility, and price. We’ll have to see how they measure up in the field. My hunch is the Nova will be a nice companion to the 650c. The Vortex 8 is great, especially for those who hadn’t gotten into S60 Skypanels and were hesitant to jump in. The Vortex gives you what you wanted in an updated S60. For me it wasn’t enough of a progression and I didn’t need the IP rating and other whiz-bang capabilities. I was off becoming enamored of point source units and rediscovering fresnels😀 When Nanlux came around with the 650c and 1200c, I was more interested in the 1200c, but because I was given the opportunity to use both units for a while before returning them, I found they made a great combo. Now both are regularly used on most of my shoots. My S60’s are relegated to cleanup lighting, where I need to fill in some where. I can see these 600+ units becoming very handy for a lot of people. The Vortex 8 will have a good run in the rougher rental world of features and commercials until someone (ARRI?) comes along with the next iteration.
@@meetthegaffer Thanks Luke, I'm running 4x Arri S60s and use them all the time especially with the DOP Octos 7,5,3ft. I've been looking at the Nanlux 1200 ,huge output so would be very usefull.So might go for one... I like the idea of the Apature 600 as it fits in with my other Apature lights eco system (Sidus link). And yes,'m sure Arri will not be far behind with something new.... Thanks for your reply, really enjoy your videos Chris Filmlighting NZ Ltd
I wonder what the best grip would be to build a T-bar for hanging neg. Using a manfrotto super clamp on top of a stand is not super sturdy. I rather have something that had a wider grip around the pipe. But I guess its the baby connector that is a little flimsy. Perhaps there is a junior solution for this? Overall, I leaning towards using junior connectors as much as possible.
A Big Ben clamp with a junior pin can work well if your cross bar is speed rail. In this instance we 1 inch square tube and used either a slide on earth or slip on pin.
thegripstore.com/products/scaffold-clamp-w-1-1-8-pin-aka-big-ben?variant=19184104407097¤cy=USD&gclid=EAIaIQobChMIuP-S_KiL8wIVUQZ9Ch2E3QBTEAQYAyABEgJW7vD_BwE For reference…
Au revoir! You made my day repeatedly! I'm impressed on how you ended this video You can produce well. How do you make the click for more thumbnail at the end
Hey Luke, great content as always. Would you PLEASE consider doing a segment on the various size film carts that are out there? Like which are ideal for sprinter packages vs 3 ton cube trucks? There are hardly any videos that address this.
Interesting topic! If owner operators were willing to show off their configurations inside their vehicles it would be fun to combine the guided tours. I’ll see if I can find any willing participants😉
Finding willing participants is the trick! However, I just heard from a Sacramento gaffer who was willing to list the carts he uses in the his Transit… so if some other folks come forward, and maybe add some photos or video… that would be cool🙂 lseerveld@gmail.com to share your cart choices for Sprinters and Box Trucks.
Possibly because budget allowed for fewer lights to light large green screen. Then on top of that you have to increase shutter speed to eliminate green motion blur when talent moves their hand (and on top of that, if they happen to do slow mo that eats up more light as well) I’m not familiar with fx9, so 1600 might be a native iso as well?
Our working ISO was closer to 800 once you factor in the Teleprompting glass, so it’s not really that high. We were going to have some talent movement so having a healthy depth of field was requested. We weren’t using a lot of tungsten, but it never hurts to keep the heat down: fewer lamps burning = less heat. And with the background at a lower illumination I could light the foreground easily and make the experience for the talent more comfortable. The FX9 has a dual ISO, so either high or low works. It seems to be a popular next camera for those who have had FS7’s and the capabilities are impressive.
Thanks for wearing booties on the green! Nice dual camera angle. Interesting tip in light source size and glasses. Thx!
Thank you for the lessons, Luke! I always enjoy watching/learning.
Recently shot a video. I was the on-screen talent. When looking at the interviewer, the lighting looked as intended...most of the time. However, when I would move my head around (normal gesturing), at times I could see the hair light reflecting off of my forehead (dang receding hair line). Unfortunately, I had already run out of stands, and had to live with it.
Gonna have to get more gear...or get more creative.
Ha, ha! Yes, there is always something you could do better with more time, people, gear, or experience. But I figure if you are still learning then there is still interest and potential for enjoyment. Keep up the good work!
@@meetthegaffer There are two (2) primary joys in life; Growing & Giving. (Tony Robbins)
It's pretty cool that TH-cam has afforded all of us both of these joys.
Have a great weekend, Luke!
Yooo Cyrus gettin' the shout out, such a good Hand!
I'll echo another question. Using False Color, are you using approx 40 IRE for the green screen and 60 IRE for the talent? Also, where did you get the head at you use for a stand-in?
I'd also like to know where you got that stand-in head. That would be a great time-saver.
Yes, we had the green a little under talent and talent around 65 IRE. Try he head is just a $20 purchase off of Amazon. I went for a skin tone that was not too light and not too dark. It’s just a head used for practicing make-up or hair.
Similar to this:
www.amazon.com/dp/B08Y1JYJBB/ref=cm_sw_r_em_api_glt_fabc_1WZP3QEYQHQQ2HPH0C1H?_encoding=UTF8&psc=1
@@meetthegaffer Thank you Luke. I am currently setting up a green screen in my way too small extra room in the house and I only have a 5 foot separation between green screen and talent. Oh am I getting an education :p
Ha, ha! If you can, try to light it all with bounced light. You’ll be fighting fewer shadow issues.
@@meetthegaffer Hm. I'll look at that, never thought about it because of the space. Right now I have 1 Nova p300c with barn doors lighting the 13' screen from one side and a 300x with a light dome lighting the other side, and a nanlite 30" tube on the floor in the middle filling the center. For talent I have a 300x with a lantern for the key, a 60x for the fill and another nanlite overhead for the rim.
I am considering getting another Nova just to be a bit more even and reduce the light dome interference with the camera. I just need more space.
Thanks Luke, what do you think of the new Apature Nova 600 vs the Nanlux 1200 ?
I think the better comparison will be between the Nova 600c, Nanlux 650c, and Vortex 8. On paper the differences are obvious re IP rating, Sidus compatibility, and price. We’ll have to see how they measure up in the field. My hunch is the Nova will be a nice companion to the 650c. The Vortex 8 is great, especially for those who hadn’t gotten into S60 Skypanels and were hesitant to jump in. The Vortex gives you what you wanted in an updated S60. For me it wasn’t enough of a progression and I didn’t need the IP rating and other whiz-bang capabilities. I was off becoming enamored of point source units and rediscovering fresnels😀 When Nanlux came around with the 650c and 1200c, I was more interested in the 1200c, but because I was given the opportunity to use both units for a while before returning them, I found they made a great combo. Now both are regularly used on most of my shoots. My S60’s are relegated to cleanup lighting, where I need to fill in some where. I can see these 600+ units becoming very handy for a lot of people. The Vortex 8 will have a good run in the rougher rental world of features and commercials until someone (ARRI?) comes along with the next iteration.
@@meetthegaffer Thanks Luke, I'm running 4x Arri S60s and use them all the time especially with the DOP Octos 7,5,3ft. I've been looking at the Nanlux 1200 ,huge output so would be very usefull.So might go for one...
I like the idea of the Apature 600 as it fits in with my other Apature lights eco system (Sidus link).
And yes,'m sure Arri will not be far behind with something new....
Thanks for your reply, really enjoy your videos
Chris
Filmlighting NZ Ltd
I wonder what the best grip would be to build a T-bar for hanging neg. Using a manfrotto super clamp on top of a stand is not super sturdy. I rather have something that had a wider grip around the pipe. But I guess its the baby connector that is a little flimsy. Perhaps there is a junior solution for this? Overall, I leaning towards using junior connectors as much as possible.
A Big Ben clamp with a junior pin can work well if your cross bar is speed rail. In this instance we 1 inch square tube and used either a slide on earth or slip on pin.
thegripstore.com/products/scaffold-clamp-w-1-1-8-pin-aka-big-ben?variant=19184104407097¤cy=USD&gclid=EAIaIQobChMIuP-S_KiL8wIVUQZ9Ch2E3QBTEAQYAyABEgJW7vD_BwE
For reference…
Why not use an overhead frame “ear” in the middle of your pipe, held with a grip head?
Yup, that works well too! Many ways to make it happen.
@@meetthegaffer I'll second this suggestion. Simple and sturdy.
what colour temp is this? tungsten + nanlite?
3200K for both tungsten units, Aputure Nova, Litepanels Astras, and Nanlux Dynos.
Au revoir! You made my day repeatedly! I'm impressed on how you ended this video You can produce well. How do you make the click for more thumbnail at the end
I have no idea😬
Hey Luke, great content as always. Would you PLEASE consider doing a segment on the various size film carts that are out there? Like which are ideal for sprinter packages vs 3 ton cube trucks? There are hardly any videos that address this.
Interesting topic! If owner operators were willing to show off their configurations inside their vehicles it would be fun to combine the guided tours. I’ll see if I can find any willing participants😉
@@meetthegaffer That would be AWESOME!!
Finding willing participants is the trick! However, I just heard from a Sacramento gaffer who was willing to list the carts he uses in the his Transit… so if some other folks come forward, and maybe add some photos or video… that would be cool🙂 lseerveld@gmail.com to share your cart choices for Sprinters and Box Trucks.
Could somebody inform me about the reason why they are shooting at such a high ISO ?
Possibly because budget allowed for fewer lights to light large green screen. Then on top of that you have to increase shutter speed to eliminate green motion blur when talent moves their hand (and on top of that, if they happen to do slow mo that eats up more light as well) I’m not familiar with fx9, so 1600 might be a native iso as well?
Our working ISO was closer to 800 once you factor in the Teleprompting glass, so it’s not really that high. We were going to have some talent movement so having a healthy depth of field was requested. We weren’t using a lot of tungsten, but it never hurts to keep the heat down: fewer lamps burning = less heat. And with the background at a lower illumination I could light the foreground easily and make the experience for the talent more comfortable. The FX9 has a dual ISO, so either high or low works. It seems to be a popular next camera for those who have had FS7’s and the capabilities are impressive.
It's not easy being green.
😁