Tip:
Highlight text to annotate it
X
Hey, Guy Cochran, here and we're going to jump into the studio and try out
a few things. Some of them may kind of surprise you, right now what we're
looking at is an on-camera light and that is the light panels and LP micro.
This is a little tiny light that runs off of four double As. Now one of the
things that I'm doing here is that I'm cranking up the gain, and I've got
the iris all the way open. So, we're basically maximizing what the camera
can pull off, and we can go with more gain but more gain equals more grain.
Right now, the picture is not going to look as clean as it possibly could
with some of the other lights. So, what I'm going to do is I'm going to go
ahead and turn off the LP micro so that you can get an idea as to what the
background looks like without anything else. So what we have here is
basically a blue background light, lighten up this window. And I've got a
low pro-light up here on a C-stand with a boom arm that's given me this
nice little glow around my hair and shoulders.
The next light that we're going to take a look at is one of the light
panels minis. I'm just going to turn that on. So the light panel mini is
about twice as much money, has a lot more LEDs on it and this one's gelled
with a tungsten CTO gel. Again, we're still at 90 DB, so this is kind of
the look that you're going to get. What we're trying to figure out here is
we need a solution for one of our customers that is trying to do some red
carpet interviews. So, right now, I've got this C-stand boom arm at 4 feet
away. I've got a tape measure here on the ground, I'm exactly four feet
away. So look at my arm, 4 feet away, this is what a light panels mini will
do. I actually mounted two of these so let's see what happens when we do
two.
And again, this is full bore, 90 DB of gain on a Sony FX1. This is a three
chip camera with third inch CCDs. So, man, that's actually pretty shocking
for what it is. So, that's actually a pretty nice solution. Two of these.
We've got it mounted via a bracket1 HD that allows us a second hot shoot
mount so we're able to hook up these two guys. So, this isn't cheap. If you
think about it, you've got two light panels minis with batteries, the whole
kit we're talking like two grand. So it's not a cheap solution.
So, I wanted to show you guys a little bit some of the other solutions that
I thought of for this customer. One is, let's try turning off one of these
for a second, and I've got on a boom overhead I've got another light panels
mini. So, light falls off at the distance squared, so basically if we're
able to cut the distance, if we were four feet away, actually, I'm more
about five right now because this is the four foot mark, and I've got this
light at about two feet away so it's coming down and it's giving me some
nice overhead light. So now I've got two lights on, let me turn off one of
the other ones. So that's kind of the look that we can get, and this isn't
bad because I don't even have any room lights on right now. So if we were
to turn on the house lights, which aren't very bright either, there we go.
So, that's a pretty decent look and now we could even start to turn the
gain down. So we're going to go to 3DB of gain. This is what 3DB of gain
looks like. So, we're going to have a cleaner image, 3DB a gain.
And the last light is going to be the most expensive light. This one is
going to knock your socks off as to how much it costs, but it's called the
Ring Light mini, and this is something that you see in a lot of music
videos. There's a bigger brother to it, the Ringlite Cinema. So this one
is a big circle of LEDs, over 600 LEDs that mounts to the front of your
camera and you can actually turn on just the top, just the bottom, top and
bottom, or the whole ring, or just the center, the center strip. So I'm
going to go ahead and turn this one off, and I'm going to put the gain all
the way down to zero and I'm going to turn on the ring light. So this is
the ring light, and I'm going to have to step back to the five foot mark
here. This is amazing. This is the ring light.
You're able to see what I've been looking at for this customer in
particular. He's going to go shoot a fashion show so there's interviews,
red carpet interviews, whatever. So, I'm going to be wearing some nice
threads, I'm not going to be wearing anything too cool, but you could
actually see that I didn't iron the shirt today, dang. So, you want to be
able to see all the detail in the clothing, and I think that this light is
going to probably be his best bet. If he doesn't want to do the combi-boom
arm thing where you can get the light closer because he's going to be doing
some run and gun, he's probably not going to want to have this big old boom
arm that he has to pick up because he's a one man band, no assistant.
So, I'm thinking, it just goes up. It goes from the LP Micro, to one mini,
to two minis, to the ring light and there's an LED for every budget, and it
starts out with the LP Micro. You're going to have to turn on the gain so
you're going to get a little bit of grain, but here you can see that if we
get the Ringlite Cinema, we can get some great results. It really helps
if you can get a back light. So, what I always try to do whenever I'm
walking into a venue, if I know I'm going to shoot some interviews with an
online camera light, I'm going to try to find myself a nice background
light or backlight so I can get the hair and, at least, get that separation
because here's what it looks like if we turn that light off. You know, with
no back light you just lose that whole edge. Of course, it always helps if
you have a cool background, too. I've just got a little blue light. A
little blue light on gel, but you can see how kind of boring it all seems
to be without. If you notice, I'm looking up here at a monitor, but it all
seems to kind of be drab without a nice background light.
So, all right, that's going to do it for this one. Thanks for watching.