John Sharaf
Forum Replies Created
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Edward,
You just need to know where to look (on the internet). Try this:
https://www.servicesplus.sel.sony.com/UnderMaintenance.aspx
JS
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Hi Craig,
I can’t say enough about the ARRI Locaster LED’s.
I started with a pair and now have four of them. They are a little pricy, but they offer a very nice quality light that is fully dimmable, adjusts color from 2800-7000K and also have +1/-1 green/magenta shift.
I think the nicest thing about them is the finely etched glass diffuser which make a strong yet soft source. Additionally there’s a bracket which allows two units to mount end to end and result in a light about the size of a 2’Twobank Kino.
In particular these lights are very useful in high ambient light environments where they can easily be placed as a key light or backlight and have just enough poop to work without overpowering the available illumination. Same outside at night where they can be dimmed down to almost nothing without changing the color temp.
They also have a snap on battery option that lasts for two hours and makes them particularly useful because there’s no power cord attached to hide or extend.
Finally the two light kit comes in a Storm case about the size of a 8″ LCD monitor, so they’re quite easy to carry in and take very little space on a cart.
Even in situations where you want a bigger light like a 800 Joker in a Chimrera as key, these two LED lights are great as a backlight/rim light and as an eyelight or fill light.
Once you actually get your hands on these lights and start to play with them you’ll realize immediately how unique they are what a useful addition they are to a complete lighting kit.
There are many occasions in LA where I work these days when “green” or “energy efficient” lighting is mandated and these instruments as well as some Kino Flows allow a lot of fire power with very little amperage. It’s a bit of a magic trick.
JS
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It’s helpful to know scene takes place with actual audience (students), you’ll need to create base light by bouncing off the ceiling (as someone else has already recommended). Wall of foam core is only appropriate if no audience.
Measure the baselight to determine how bright the key should be. In this case the “baselight” is essentially “fill”
JS
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I have no explanation for the difference in the subjective difference you see in the two recordings, but trust the waveform as regards the RGB gains. I would recommend you setup your camera that way. To be sure, you’ll also want to check the playback of the chip chart on the waveform too.
JS
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Matt,
It is true that the F3 out of the box is a little green. You’ll notice it specifically when you look at a chip chart on a waveform monitor. The fix is in the picture profile>settings>white where you can offset the red and blue gains and color temperature to make a more accurate white. I have three of these cameras and they all exhibit this issue, as have others I’ve looked at.
JS
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How are you determining the color temperature? If it’s by the readout in the camera upon white balancing, that may not be accurate. Look at the white balance on your white “preset” if it’s really 3700 you should be able to see a slight bluishness.
JS
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Try the ARRI Locaster LED kit of two lights; very compact, very bright and adjustable from 2800-7000K.
JS
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It can only be installed on one camera at a time
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Bob,
The RGB444 “Option” is a paid for upgrade to the tune of $3680.
It does however come on a 32Gb SxS card which you can use, and the upgrade can be transported on that card from camera to camera.
JS
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The human eye adjusts to the color easier than film of video sensor