The VisionSmith ReLamp System just might be the LED solution I’ve been looking for to breath new life into my old fresnels. In the past few years, I’ve become more and more reliant of LED fixtures. I’ve come to appreciate the low power consumption. The low power needs allow me to run almost everything on batteries, the lightweight of the fixtures and the versatility of LED in terms of color.
LEDs have really changed the way I work. On many shoots, I’m able to move faster and be or agile with my lighting. But sometimes I miss the utility of the fresnels in my trusty old Arri kit. There a number of companies making very effective LED fresnels. Rayzar 7, Intellytech, Arri, and Ikan just to name a few. The problem I have with these is a combination of the price, size and output trade-offs. Also, I have all these great fixtures gathering dust in my garage.
VisionSmith ReLamp is a direct replacement for Tungsten bulbs in most traditional fresnel lamps. It’s not retrofit that requires modification of the fixture, rather this upgrade is as simple as a bulb replacement. (Although, removing the internal reflector and swapping in VisonSmith’s fresnel lens does produce better performance.)
The ReLamp system offers replacements for 300w, 650w, 1000w and 2000w fixtures. They come in both Tungsten (98CRI) and Daylight (95CRI) options. As with other LED lights, they use a fraction of the power of tungsten or HMI fixtures of similar output. They all work with common dimmers. No need for LED specific dimmers. Best of all the cost is about 1/4 of a comparable LED.
Dan Chung, editor as Newsshooter.com takes at deep dive into the new affordable, light-weight 18-55mm cine zoom lens from the Optical Imaging Division of Fujifilm. The new cine zoom is full of features that cinematographers will come – over the commonly used stills lens. Parfocal, Long focus throw, dampened and geared focus, zoom and iris rings, adjustable back-focus are just a few highlights offered by the 18-55mm zoom.
With so many great cinema cameras on the market, at a wide range of prices, It can sometimes be tough to decide which one is the best choice to buy, as an owner operator or rent for a project. We had the opportunity to get 6 popular cameras together to do some basic testing. This was an opportunity to get an idea of some of their strengths and weaknesses shooting in 4k (UHD).
RED Epic Dragon
URSA Mini 4.6K
(pre black shading 4.2 update)
Canon C300 MK1
Let me start with one caveat. This in not a shoot-out to prove which is the overall best camera. Our goal here is to give you a little insight with regard to color, exposure response, and grading. There are so many other subjective factors like price, ergonomics, post workflow, compatibility, etc, that go into choosing a camera. We just couldn’t address everything in this project.
Given the time we had available with all the cameras and our free studio space, we decided to limit our test to an exposure stress test. The RED and URSA Mini were recorded in RAW 3:1. All of the Sony cameras used SLog-3. The Canon was shot in Standard REC709 (we initially were not planning to include the Canon after our C300 MK2 got booked on a job.) Each camera was set to it’s “base ISO” and recorded at several stops over and under proper exposure. We used a grey card, in camera exposure tools, and our professional judgment to determine the best exposure for each camera.
All the cameras in this test performed extremely well. They easily recovering from as much as 4 stops of overexposure to render a pleasing image. It was not much of a surprise to see that the Sony F5 and FS7 were almost identical in this test. They both were able to recover from almost 6-stops of exposure while maintaining reasonably good detail in the skin tone of our fair skinned model (Claudia). The C300 performed much better than any of us expected, considering that it’s an HD camera that had to be up-rezed to 4K (UHD).
I know there are all sorts of ways to maximize the low light capability of each of these cameras. Without jumping thru too many hoops, we wanted to see how far under proper exposure they could go and still manage to render a usable image. At 2 stops under, just about all of the cameras rendered an image that we all agreed was useable, after some basic primary adjustments in Davinci Resolve. When pushed to 4 stops under, the Sony F5 rendered the most “usable” image. I’m sure that we would have gotten better results from the RED using the Low Light Optimized OLPF (optical low-pass filter). Similarly, the Sony cameras would have benefited from a switch from SLog-3 to one of the Hypergammas, like HG3. (Of course, we could have just bumped the gain, but what fun is that.)
All the footage was shipped out to Eric McClain (Digital Pix: Motion Picture Imaging) to be graded in Davinci Resolve. There is a lot that can be done in Resolve to make all these cameras really shine. Eric chose to limit this test to a single primary grade – opting to get each camera to clean and neutral looking baseline.
We’re working on a video that covers the entire grading process and will be posting it soon. As a quick overview, it turns out that the RED was the easiest of the group work with. This is much improved from its past reputation of having a difficult and lengthy post workflow. The Sony F5 and FS7 the next easiest to color correct. They required virtually identical tweaks to render a neutral baseline image. The URSA Mini required the most manipulation to get a neutral image. In the end, the result is one of the most pleasing (IMHO).
Really the conclusion is up to you. Take a look at the video. Watch in 4k on a decent monitor and keep in mind what’s important for your style of work. I hope this gives you a better understanding of the capabilities of these 6 cameras.
THE Charters pole is the brainchild of Hollywood cinematographer Rodney Charters ASC. It is a multi-purpose lightweight carbon fibre pole that can be used on any production. Intended to be used by anyone who needs that high angle shot that is impossible to get any other way. It can be used to support a lightweight brushless gimbal, small VR cameras, a small compact camera or GoPro for photography, small lights, flexible LED panels or a microphone.
It has a unique combination of price, construction and performance that separates it from all other poles on the market.
Unlike a regular audio boom pole it is designed to carry a range of objects and has a standard 1/4 20 thread on top. It is available in 2 sizes, the 6m Production pole (1m closed length) and the 4.35m Compact pole (0.8m closed length). The Compact pole is short enough to fit in most large suitcases for travel.
The carbon fibre used is strong, yet lightweight, and is lightly ribbed to provide a firmer grip. Optional accessories will allow the pole to be clamped or attached to objects for greater stability.
The Charter’s pole comes with a small ball head that can be used to mount accessories and compact cameras. Some cameras and gimbals will require specialised mounting and third party accessories for attachment.
The new feature of this pole now allows for adjustable thread length on the top point that you would fix your equipment to.The new feature allows for versatility in fixing 3/8” as well as ¼ 20 screw threads, and with different depths.Yes, you can alter the screw length to suit the product being supported!
Rodney is acclaimed for his work on ’24’, Dallas,Shameless and The Last Ship, he has also shot many documentaries and more recently a major motion picture with Michael Caine and Morgan Freeman. An avid adopter of new technologies Rodney has already tested the pole on several big productions. He said “I designed this pole to be the most practical, yet affordable production pole on the market. Great for productions big and small. I’ve used it for video, lighting and photography. I’m sure users will find even more applications and I’m really excited to see how it’s used in the real World.
Like any pole, The Charter’s Pole must be used with due caution. Do not use the pole within 50m of overhead wires. Contact with electricity can result in serious injury and death.
Care must be taken to avoid other objects and persons who may be injured if coming into contact with the pole. Do not use the pole over persons, animals or property that is outside of your control. Do not use in any area where you where you do not have appropriate permissions or rights to use. Do not use in high winds or thunderstorms.
It is not a toy and serious injuries may occur if used incorrectly. The operator must exercise extreme caution to avoid injury to themselves either by collision or trip hazard.
This $550 accessory is offered in two versions, the Production Pole and the Compact Pole. Features include:
The long awaited Fresnel Mount for the Aputure COB 120 LED lights has started shipping. This new lens attachment makes this already useful LED flood light a much more controllable light source. Jem Schofield of theC47 takes a close look at the fresnel attachment.
The Aputure COB 120 LED light has been a hot property ever since it was launched in early 2016. The Tungsten balanced COB 120T version was the first model released follow recently by Daylight, COB 120D version.
COB 120 Features
Features CRI96+ and TLCI96+, excellent color reproduction. Integrates 324 powerful luminous chips, with Bowens Mount Reflector attached, provides firstname.lastname@example.orgM(1.64ft).
Ultra Silent Fan, Noise Low to 18dB. Dual Cooling Mode, One Key Switching. COB 120D has a remarkably intelligent temperature control system. The fans rotation will be varied based on the correspondent ambient temperature. Furthermore, the fans will go to the maximum of rotation when you press the Auto/Force mode. This complex fan system is convenient for both improving the dissipation efficiency and light lifespan in complex shooting environment.
Dual Power Supply via Power Adapter or V-Mount Battery(Not Included). 2.4G FSK wireless control within 100M, no blind angle.
Unique Light-Control Separation Design allows people to control illumination on the COB120’s controller box no matter where it is mounted and greatly reduces the traditionally top-heavy weight of mounted fixtures.
Featuring a Tough Aero-Aluminum body, the LS C120D is remarkably tough and durable. Portable and lightweight, weights similar to A Macbook Pro.
If you’re looking for more info about the Aputure COB 120 LED Lights, cinematographer Eric Naso has done a great review. Check it out.