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Dustin Schmidt

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  1. Canon doesn't sell one? That seems like an oversight. Or do they have one coming at some point?
  2. This is a great take and I couldn't agree with you more. I typically pack the kitchen sink when I'm getting ready for shoots, just to try and cover all of the eventualities you describe. The question I posed and the ensuing conversation has been incredibly helpful when it comes to seeing what others use and why. These answers will inform what I choose to do moving forward. Hopefully when I'm going from location to location in a single day and speed and packability are paramount, I'll have a larger knowledge-base of small solutions that have worked for others to choose from. When I know I'm going to be in one location all day and have an hour and a half to setup, I know I can go for something larger that gives me more options in how I massage the framing. Asking for the "best" answer to something has generated a lot of great feedback on this topic. Even though we all know there is no "best".
  3. I don't necessarily have a job coming up that requires flying, especially with where the world is right now. But a carry on is a familiar size to most of us so I wanted to use that as the baseline for how small and lightweight I'm looking to travel. My work is usually solo to very small crews and the easier and lighter I can work, while still putting together a versatile lighting kit that can get the job done, the better.
  4. Thanks for the info and linking to this thread. It definitely sounds like a chorus of voices here pushing for flexible/foldable led mats as a better solution for what I'm looking for. I don't love the idea of all the extra pieces, with more cords and ballasts, etc., but if it gets the job done in a better way then I'm for it. I'll check this out in more detail.
  5. I know the Hive has a 180 degree beam angle open-faced. Would be looking for the best compromise in direction/output.
  6. Perfect! You sound like just the guy who can help. Ignore the 8x8 comment. Basically just saying it's more easily packed into small spaces than Aputure's light domes. My primary ask is really the best, small, portable light for a single talking head or MAYBE if it can push to lighting two people. The 200c is a light I'd considered from reading about it, but I have not used it. I have used Hive's 100 before, but found it lacking a bit in output. Do you think the 200c can fill a 4x4 reasonably well and MAYBE if you put two Hive 200C's together on a single stand, on something like a long double baby pin side by side, would they fill a 6x6? What if they had a Profoto reflector of some kind to widen the beam angle? Would they still have enough juice to get it done?
  7. I've used Astra 1x1's quite a bit in the past but I want to stay away from that form factor for traveling. They definitely do a fine job into a 6x6 bounce or diffusion though. They just don't quite pack into a carry-on easily. Love the Aputures, and the light domes, but the light domes don't really pack down small enough. You can take a 4x4, 6x6 or even 8x8 and fold it up so it'll fit in the front pocket of a carry-on. No speedring to worry about. Ultimately I'm either going to bounce or go through diffusion for the key, if I can take a small size, point source with a decently broad beam angle and get it to fill a large bounce, that's ideal. The 120dII or the 300dII are still a bit too large for this "unicorn" light I'm looking for here in this thread.
  8. I know "best" is a relative term, so I'll put some parameters in place. Here's what I'm trying to figure out. What options are out there for a key light that is small enough to fit in a carry-on, powerful enough to light up a 6x6 (or even an 8x8 would be great) and has a very small power supply, or even better, a built in battery or is easily run off of a single V-mount? Also the ability to use modifiers directly with the light. The goal is to find a good, powerful, portable key light for interviews that can scale from lighting a single talking head to possibly 2 people at the same time. Looking for LED primarily. No tungsten or hmi solutions. I'm trying not to go as large as an Aputure 300dII or even a 120dII. Looking at something like a Hive 200c or a Light and Motion CLx10. I currently own a Light and Motion Stella Pro 5000 and love the form factor and size, but would love to find something that's bi-color and has more output. (Yes I know they make different heads for the Stella Pro to go between daylight and tungsten.) Maybe the answer is one of the more powerful Stella lights, I don't know. Willing to consider flexible LED mats but would prefer a point source. And I'll make it even easier and say money is no object! Ok, it always is...but I don't want budget to drag this conversation down. If the solution is good enough, it's worth it. Any thoughts from those who are also traveling light?
  9. That makes sense that at high ISOs the 500II would be better. I own a C200 and my main goal with this question is to figure out how it still stacks up against these newer models. It seems like if you're shooting CRL on the C200 then you're going to get about the same quality in 4k, all the way up to 60p, that you can get from the new cameras. At least with a little lighting. Some obvious additional benefits to the 300III and 500II of course.
  10. Thanks Dave! Appreciate the response. This is exactly the information I was looking for.
  11. I'm interested in the opinions of anyone who has shot cinema raw light on the c200 and also on any of the new Canon cameras capable of it, the C300 Mark III and C500 Mark II. Do you find it to be about the same, or is the CRL on the new models better in some ways?
  12. Ollie Kenchington has some files you can download. You can get to them from his Vimeo page, which links over to dropbox to get the files. Check it out here:
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