All that gear is very cool... but what caught my eye was the square frame with fabric over it against the wall... What brand is it?
bgateb760 wrote:
I've already seen a lot of work with the godox, flashpoint, and other chinese strobes. they seem to be awesome for the price, and with a bowens mount, there are plentiful options for modifiers.
I still like the profoto stuff, though, and it'll always have a place in my kit for its ruggedness, performance and reliability. And all of the OCF modifiers I've already invested in. I'd hate to lose a good amount of money i just spent over the last year by trying to move into the Siros L (and possibly another Move pack) as replacements, and then trying to replace all my profoto modifiers.
on the up side, the RFi modifiers and rotalux modifiers are easily adapted to broncolor. The OCF modifiers aren't recommended to be used with an RFi speedring, so i can't adapt any of them. those will be strictly for use with the B1's and B2's
I have a ton of lighting and each piece has a place in my kit, either for a specific purpose, or just as a backup
stuuke wrote:
Has anyone tried the Elinchrom Litemotivs?
My friend has Broncolor and Profoto battery monolights and he has really been trying to push me towards the Broncolor. He loves it.
I have not, but it's the same idea, although not focusable, i think.
much cheaper, but if you really want something cheaper, look into the parabolixlight modifiers. We've been in touch with him for some time, and he's working on some new products like indirect/focusable strips in addition to the parabolics.
I did a preview on the blog here, and i'm working on a comparison between this parabolix and my para133.
rscheffler wrote:
All that gear is very cool... but what caught my eye was the square frame with fabric over it against the wall... What brand is it?
bgateb760 wrote:
IT's a westcott 6x6' scrim jim cine -- they make a 4x4 and 8x8 as well (and i think a 4x6')
i'd recommend the 6x6 to start, as you can configure it to a 4x6' and just buy the fabric you'd need
the kit comes with a 2/3 stop diffusion panel and a silver/gold reflection panel fabric, if i recall.
OK, thanks! I had a feeling that was it, which I happen to have in my B&H wish list... I'm actually thinking of using it for backgrounds rather than as a reflector or diffuser.
Konablue wrote:
The B1 is a heavy light and the Para 133 will likely be very nose-heavy with a B1 positioned at the end of the rod and worse with a 6" extension. Why not use the Para 133/88 without the B1 attached but instead place the B1 on a separate lightstand (preferably a C-Stand with boom arm) and adjust the position as needed in front of the Para 133? It should be easy to setup and would solve the balance and light-spread issue of using a B1/D1 with the Para 133/88. Also, no adapter or counter-balanced would be needed.
i used the para 133 with a 222 focusing rod in it for some time before getting a move pack/heads. It worked fine -- it was front heavy, but with a kupo high roller, or even the junior roller, it wasn't much of a problem when weighted down -- no counterweight necessary.
I have seen other people boom a D1 into a para, and it works as well -- I did it with my PCB ABR800 and einsteins in some testing I did, and it wasn't an issue and worked pretty well, actually.
rscheffler wrote:
OK, thanks! I had a feeling that was it, which I happen to have in my B&H wish list... I'm actually thinking of using it for backgrounds rather than as a reflector or diffuser.
it works well for that too. I want to get the 8x8' to use as a background -- maybe shoot some gelled lights through it to color it when needed
but for headshots and other tight shots, the 6x6' is perfect.
Conner999 wrote:
Kona - those are bgateb760's comments under my name, but as you say, the D1/B1 are heavy lights and using them extended in a para would be an accident / bent focus tube waiting to happen.
It can be done, as you see with the Siros lights, but would not be something I'd personally do often or at all.
You can mount the light on a stand facing into a para, but to get that textbook para 'look' you in a proper parabolic unit you need to get the light centered perfectly. You can skew yourself as desired to get whatever look you want, but it need centered as a starting point (as is, after all, what paying for). Could do it facing inwards on 2nd stand, but would be a PITA to do and even more so to move light, etc.
I've used generic so-called 'parabolic' modifiers ('parabolic' is like 'APO' in lenses - too often just marketing) that look the part but they're a) not truly parabolic and b) not built very accurately / well and having the light skewed inside the 'para' even modestly makes a difference in final results - especially when defocused.
We now have the Para88 and will be getting the 133 or 177 and while $%^&* costly, the results, build quality and ease of setup / tear down are stellar.
I'm hoping to get the 88 soon, as it would be much better for location work and in tighter spaces. I love the 133, but in small spaces, and even on location, it's a bit unwieldy.
i think 88/133 or 177/222 is a perfect setup.
now, if i only had the space for the 222....
I saw the 177 recently, and think I would prefer that over the 133, aside from setup. The 88 is very capable, and i'd prefer that now, having owned and worked with the 133 -- i'd just prefer the smaller, lighter package. Hopefully I can add it to the arsenal soon.
Deep parabolic needs more light to the side and to the back.
B1/D1 head is not for deep parabolic. Even Einstein. Einstein might be perfect for shallow parabolic like PCB PLM.
Deep para needs protruding head.
I myself use Godox AD360 on my para (bottom right)
To test light pattern of the para we need to put the camera, or to the white wall (if we want to see it on the wall) as far as you can due to the paralel light comes out from the para.
