Erik Anschicks
Forum Replies Created
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The advice for a closeup filter or rental for this one project are sound, I’ll just throw out a couple lens options.
A 1.6x crop on an APS-C sensor will help as it’ll add length to whichever lens you choose. Most any real, dedicated macro lens will do, but I’m guessing you don’t want to be right on top of the talent. In that case, I’d recommend a macro with at least a 100mm distance. Since you’re using an EOS mount, you’ll probably be limited to a still photo lens, and a Zeiss ZF.2 100mm Makro lens would be great for rental. Well over $700 to buy, but an outstanding lens. It’s actually the only photo lens in the Zeiss lineup to base its optical design on the Arri Master Prime 100mm Cine lens, so it’s got tremendous lineage, a great look, and can open up to an f2. I use it a lot. Another option is the Canon 180mm macro, which is also excellent and will give you more length, but it’s fairly large and a tad on the slow side at an f3.5.
BUT, if you’re dead set on purchasing, one excellent budget option is the Tokina 100mm macro. Opens to f2.8, so right in the middle of the others. TACK sharp, excellent color reproduction, great depth and bokeh, true 1:1 size reproduction. You can find it for around $400, which is an absolute steal in price/performance terms. I have one in the Nikon build with an EOS adapter, this way it comes with a fully manual aperture ring which is much better for motion-picture applications.
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Hey Todd – I haven’t used the Mole LED fresnels specifically, but I can confirm that I’ve been very pleased with the Dedolight DLED units I have. They have identical performance as far as the clean beam and ability to cut and shape as their legacy tungsten counterparts. I posted this image a couple of years ago on another thread and it illustrates their capabilities well:
The unit on the left is a 200w pepper and the right is the DLED 4.1. I even used identical barn doors to fashion the same shape since the same size fits both units and I’d say the LED is a much cleaner beam than even a traditional pepper. So there’s no doubt to me that these units at least are more than capable of replicating the options of flagging and cutting light like a traditional tungsten fresnel.
In case you’re wondering, these aren’t as big or bright as most of the Mole fresnel line, but the 4.1 has an approximate output comparable to a 125w HMI or 500w tungsten head, and the 9.1 is around a 750-800w tungsten head equivalent. It’s always hard to directly compare since the beam angles aren’t the same and a Dedo basically crushes all challengers in this class in spot mode. But I’ve essentially replaced my 650w and 1K tungsten fresnels with them and while they aren’t QUITE as bright, I’ve never really noticed the difference in my workflow, they’ve been enough to slot right in as I would have used the older tungstens. So I’d say that LED’s that fit your criteria of having beam-shaping abilities like good ol’ tungsten fresnels do indeed exist!
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That is largely correct, though you might be able to change which fractional increments you can adjust the lens with certain cameras, not sure. I don’t really use Canon EF lenses with cine cameras.
That being said, many people are willing to compromise on this (and other) mechanical drawbacks due to the fact that you can get a very cinematic look from such lenses at a FAR lower cost than their cine lens equivalents. Many people also simply don’t change the iris during a shot, or if they do, it’s clearly intended to be a correction and meant to be edited around rather than discretely snuck into a shot and therefore this issue isn’t really a big deal. I largely fall into this category, the type of work I do very rarely requires me to smoothly and subtly pull the iris mid-shot. If you did a lot of event, ENG or reality shooting, that would be a different story, but then I would imagine you’d be using a broadcast lens or something that is made for this purpose.
To your last point though, there are two other big reasons a lot of very sophisticated cameras offer EF mounts:
1. There are other 3rd party still lenses that have, or can be converted to, an EF mount other than Canon that have gorgeous glass that are very popular, and I would even say are much better choices than Canon EF lenses.
The Zeiss ZF and Leica R series for instance, can be “cine-modified” where they de-click the iris (thus eliminating the incremental click stops), install a gear on the focus ring to fit proper follow-focuses, and create a larger front ring to make all the front diameters the same. This largely eliminates the problems inherent in still lenses for motion-picture use. Purely visually speaking, the images that a good modified Leica R lens in excellent condition can produce are on par with some of the best proper cine lenses, so it can represent excellent value for the money as compared to proper cine lenses.
2. Due to the proliferation of such cameras, lensmakers like Canon and Zeiss are offering cine lenses in an EF mount, since many people have simply started to use still lenses on such cameras. These are in many cases very similar optical designs to some of their still lenses but rehoused with proper cine build and function. As such, it is also economical to do this on the lensmakers’ part since there is less R&D required on the optical design front.
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Wow Todd, I guess my settings were off and I never until now saw your response. Very detailed and thorough, thank you!
I too have a few batteries that don’t need a charger (Switronix), as they charge with a power cord plugged into the P-tap. I suspect, however, that this might take a decent bit longer than snapping them up to a traditional charger? How long does it normally take to charge the batteries you have through just the power cord, in comparison to an actual 4-brick charger or something akin?
I looked the company up and they’re almost comically cheap comparably for a 130wh brick. Might have to pick up a couple and try them out. Thanks for the reco!
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[Todd Terry] “And I run all of mine on bricks (some of which came equipped that way, some of which we added goldmount plates to ourselves).”
Todd, how many bricks do you usually bring to a shoot? One of the main reasons I don’t power my lighting with batteries much is that in my experience, most times a single Dionic Gold or Vmount around 90wh or so with any kind of discharge mileage on it can only power my LED units at full blast for about a couple hours, at best. Even before that, they can start to flicker or otherwise have issues that can ruin a shot, especially if they’re rental ones where I have no idea how long into their life they are.
Though not always, often times we’re lighting for a couple hours or so at the beginning of the day and then using the same instruments for the shoot duration. To add enough bricks plus backups for multiple lighting units at the aforementioned run times in addition to 1-3 kitted-out camera packages and occasional accessories like a mobile monitor, I’d figure we’d be needing to bring 20+ bricks plus a few chargers every single 10 hr day to feel safely covered.
Obviously, the types of shoots and hours involved will vary greatly, and many will be significantly less that the scenario I mentioned. I just wondered what your workflow was in powering so much off of bricks.
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Bill, I think you’re right on with the trends you’re describing in custom modifiers. For some, the flexibility this allows for is a major selling point.
For example, Hive Lighting plasma and Hexolux (Visionsmith) LED units are now offering custom modifiers for their base lamps which seem to be lifted straight from the strobe world, such as beauty dishes, dome-style umbrellas, and large octagonal softboxes. Hive is also allowing use of a Source Four barrel on their larger Wasp unit, similar to what K5600 made possible with their “Jo-Leko” kit.
Bill’s wish of a universal lighting kit with an unbelievably small footprint, both in actual size and power draw, is closer than ever. I too have been on a journey towards just that, and portable modifiers and accessories are the real key because they are what’s going to make a very small light look like a much larger source! That’s the one thing larger units have going for them, the inherent softness. It’s why whenever possible I’ve always preferred 4×4′ Kinos to the Divas, their size makes them quite noticeably softer right out of the box whilst being about equal in brightness.
However, a smaller light or two bright enough to bounce or make a booklight out of with an 8×8′ silk and bounce material that can pack into a small case or two? That’s gold for any traveling shooter. I’ve been picking up a bunch of parts that help achieve this goal over the last couple of years and it’s really helped me build confidence that I can handle most locations without a truck!
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[Bob Cole] “LEDs seem particularly difficult to evaluate”
I agree that sussing out quality in LED fixtures is messy and difficult. I was relatively late to jumping into the LED pool for exactly this reason, I waited out various incarnations of them until I finally found some that I was happy enough with to use as primary lamps for uses beyond run and gun. In no particular order, here are a few of the things I learned along the way that might prove helpful.
1. TLCI.
Look at TLCI (Television Lighting Consistency Index) rather than CRI. CRI figures aren’t just suspect because of what manufacturers say, they’re not the most accurate way of determining color. Enter Alan Roberts, a highly esteemed BBC engineer who came up with a better way of determining color fidelity based on how modern television sensors and other equipment render color. Rather than my summarizing, here’s a helpful link: https://www.cinema5d.com/led-light-accuracy-tlci/
Note that within the article you can download the most up to date TLCI performances of most major LED lights from independent tests conducted by Roberts, NOT the manufacturers. I’ve found this to be an excellent starting place to evaluate LEDs, not just because of the results but also because the most reputable manufacturers will openly publish their results and/or provide them if asked. The lesser ones will not and simply hide behind a CRI they tell you that there is indeed no way to easily verify.
2. Convenience vs. Aesthetics. Which matters more to you for your work?
I say “vs” because in my experience, LEDs that prioritize convenience and all-built-in features have to have a catch somewhere and usually that is they often don’t give the most optimal light quality and are simply designed to pour out light that can somewhat blend with most environments. I’m sure there are people that disagree with this, but I believe they are marketed more towards run and gun type shooting where color fidelity and output don’t matter as much since there’s usually not time to properly light or you’re just going with what’s existing and filling in. Now this being said, whether or not this matters depends entirely on the work you do. If you need the speed, it’ll be fine and probably even preferable given the cost differences. Anything beyond that though…
As an example of a difference, the Area 48 or Cineo lamps might (and have) turn some people off because you have to manually swap panels rated for different color temperatures instead of simply turning a dial. However, this results in better color fidelity because it’s the phosphors in the panels themselves that control the color, bypassing the inherent color limitations of LED bulbs themselves. This not only results in better color, but they also remain color-stable over long continuous periods, whereas others tend to go green or otherwise shift over time. Do these small differences matter as much? That’s a matter of personal use and opinion. To me for my work, they do, but YMMV. Just something I’ve noticed.
3. Build Quality and specs.
Along the same lines as #2, I’ve also found that the best units also tend to be a bit heavier than plastic panels. I like units that utilize metal parts and heat sinks as opposed to fans, which you CAN hear in sound-sensitive environments. Most of the better ones will also be flicker-free and utilize a bit beefier but more stable power supply. They will often also use 4 pin XLR cables and connectors instead of a cheap plastic connector. Many will also have DMX capability (if you need that sort of thing) and the ability to program special features.
4. Playing well with others.
One of the first things that impressed me about the units I have is how well they blended with my existing Kinos and HMIs. I can’t put my finger on exactly HOW this is done or how it varies, but there have been some units I’ve tested that didn’t go green or magenta but were just plain warmer or didn’t really match well with other units that weren’t LEDs. My hunch is that the better companies actively test and compare their products to these other established fixtures and put a priority on blending the light quality as best they can. Now obviously this requires hands-on testing, but it’s well worth it in the end to get a demo model or rent a unit you’re considering to see how it can integrate into your current setup.
I know this is kind of a book, but hopefully it can start to de-mystify some matters. It’s of course by no means gospel, just my opinions and observations after utilizing these types of fixtures extensively over the last couple of years and learning as much as I can in the process!
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Yeah, the price of excellent daylight LED (or any fixtures, really) lights is always the drawback. That being said, they open up SO many more possibilities and lessen almost every drawback to location shooting imaginable, from heat, to color temp matching, to power draw, to location logistics, etc. I have moved almost entirely to daylight lights in my standard kit these days, a mixture of hard and soft light LED, flo, HMI, and plasma. If it’s an area you’re lacking in as you say, I would very seriously consider such methods.
The power draw in particular, or really the lack thereof, has been a near-magical game changer to working this way. Using a combination of my lights, I can get the approximate lumens equivalent of almost 13K worth of tungsten on a SINGLE 15 amp circuit. If I have 2 clean circuits and ran the LEDs from battery power, I can nearly double that adding a 1200 par or two, though honestly I very rarely power the LEDs via battery if AC power exists where I am.
Of course, this is really only worth it if the type of shooting you do lends itself to these methods! For me, a lot of my bread-and-butter shoots tend to be location ones where we don’t know what exactly we’re walking into and have to bring as much as space and budget allow to handle almost anything you could expect from a small to large(ish) location. Maximum flexibility from our G&E kits is top priority, which is most easily accomplished with daylight fixtures and the aforementioned advantages they offer. Replacing existing practical lighting from most bulbs found in household lamps or fixtures is no problem either, as I’ll also bring some of the daylight-balanced screw-in bulbs that Kino Flo makes so I can change out practicals or use in china balls. Having the ability to be able to attack almost any situation and having an ideal fixture to draw upon for whatever that particular shot needs ultimately makes things a WHOLE lot easier for us.
An added bonus is the fact that many of these newfangled daylight fixtures are relatively compact and lightweight designs with portability in mind, so you can maximize your cargo space as well. All of my lights plus a pretty complete G&E kit, a complete cine camera package and two carts fit easily into my Chevy Traverse.
I still kept all my older tungsten units, but I find I really only use them in very specific situations, such as matching existing lighting in night exteriors or to obtain a warm, almost candlelight feel for a nighttime interior. Otherwise, 5600K is my new standard.
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I’d say florescent are by far the worst for shipping since the bulbs can break easily and getting local replacements would be a rarity in all but the largest production markets. Tungsten and HMIs can have the same problem, but the bulbs are much smaller and easier to remove and stick into a backpack with you, can’t really do that with flos. I never fly with even Divas these days if I can help it, even with extra padding the bulbs have broken on me.
With LEDs, I agree with Todd, they’re probably the easiest lumens per watt in terms of portability and would probably hold up fine. Some LED units aren’t the most durable in general though since a lot are plastic-y and/or not really designed to take abuse. The Litepanels Astra for instance has a large plastic shell that I’ve seen crack easily, especially around the power supply. I’m not knocking Litepanels, in general they’ve held up fine but I have seen multiple Astras that have cracks in them. The LED units I use mostly are the Area 48 panels and Dedolight DLEDs, which are both high-quality metal fixtures with heat sinks that are quite thick.
Tungsten or HMI heads, at least Arri, Mole, or K5600, I’ve never had a problem with. You’d literally have to TRY to break a Mole fixture, and Arris can be put into their kit cases and fly all over and remain mostly unscathed, perhaps bending a piece of metal back into place, but that’s about it. So overall, I’d stick to LED or tungsten where you can easily remove the bulbs if desired…and CERTAINLY do this with HMIs.
Regardless of what type of fixture you choose, if durability is a prime concern, stick with established name-brand fixtures or high-end newer ones that have quality materials. It’s more expensive, but worth it in this case. The easiest way lower-end units or knockoffs save money to offer lower prices is in the build quality and materials. Arri, Mole, Kino, K5600, Dedo, or LTM have to take abuse as rental units and are built to spec accordingly.
Which units do you have in mind?
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Bob –
Yes, black hairspray, otherwise known as “streaks and tips”. It’s a relatively common expendable in grip packages, and available at Filmtools or Barn Door Lighting, or other places where such things are sold.
It is basically tinted dulling spray, and I use it to slow down the light of bare bulbs and neon lights. It’s a good method for this since dimming will change the color temps considerably and gelling bare bulbs is never really the best idea. Use some of the black spray and it cuts down the brightness in the bulb in the same way that wrapping a double or other such net around one would. I’ve even seen a gaffer quickly spray the outside of a cheap China ball to slow it down more quickly than wrapping it with something would!
When done shooting, it removes easily with soap and water and the bulbs are perfectly clean again.
