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
This is more helpful than any Methodology of measuring light!!! I can visually see (assuming my monitor has not lost its calibration) what i assume would be on camera. I like the Dracast but i think the Wescott Looks and is the best deal here!
I always have to flag/silk and correct daylight anyways especially darker actors. So i don't care if it doesn't match perfect i want flexibility not perfect.
All light Measuring methodology stems on the light source compared to the full spectrum instead of what Camera equipment reads. I've notice 3 new ways of measuring light in the past 4 years and all of them say the other is wrong or inferior. TLCI, CQS,TM-30-15 and they all use software to mimic a camera and still use a spectrometer looking for the full spectrum. Digital Cameras only collect RGB photons in its bayer filter so everything in between is lost and doesnt pick up. However if you are mixing the RGBW and mixing them to tricking your eye to seeing that color the Camera will also assimilate it as if it were that spectrum but more saturated and for cameras the more info the better.
I have worked with the the Newer DS product and i will tell you that any measuring method for light is still trying to look for the full spectrum, thus the reason why the tests are not good. but if you see the light and footage for yourself you will see that the images pop and dont seem to be flat. Its a more saturated light meaning it has depth in its colors. Why would big triple A movies want to use a dull looking light with bad color rendition? They wouldn't, and i can tell you big movies test camera and lights for a week to a month before shooting and if it didnt look good or work out it would be ousted.