Finally companies are understanding how cameras actually work! De saturating white light to keep the RGB spectrum is confirming how Cameras sees light and that all these measurements for rating light spectrum is bullshit! CRI, TLCI all reference full spectrum light like daylight but ignore the fact that cameras dont see full spectrum at all, they see RGB spikes! It is better to pull down saturation color levels than to try and give saturation to a flat color image in editing. Reason why making White light with RGBW color mixing allows for better primary and secondary color control while fixing your images in post.
also Pixel control seems to be the logical next big step in lighting. Pixel mapping is huge right now and im sure we will start to see in coming years that full pixel control of a panel will be the next big race.
Rather have a Digital Sputnik DS6. No Building and way better control and lighter than this.
I know the DS guys in LA. Im sure they can get you one for this comparison test. I know OFFHOLLYWOOD in NY has DS also and possibly can lend you the lights for the Comparison or you just rent from them for a day.
But give DS a Call! Here is their LA office # (818) 262-9284
would love to see this comparison!
Here is the formula so you can be like Michael Bay!
C17 H21 No4
Your welcome! :)
Sure those are the basics but there are more specific roles when you work on bigger shows. Most AAA movies are using more smart lighting and LED style lights and require more positions in the departments to help with the tech and schedule.
Lets not forget the Rigging crew for stages, which includes a rigging gaffer, best boy and rigging electricians.
Also the most overlooked are DMX crew. This includes a Board Op, DMX Techs, and Rigging Tech.
I would love to see a in depth coverage on DMX positions because they are now becoming a requirement instead of a luxury for big shows.
Missing a few major key positions on big shoots like these. DMX Board Op and DIT I Did not see. They Usually get close or over 100K