NANLITE PAVOSLIM 120C WITH GRAY KEYLIGHT SOURCE?! Pt.1 (EP.286)
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- Опубликовано: 5 окт 2024
- In this episode I go down another lighting "rabbit hole" and pair the Nanlite PavoSlim 120C panel light with the 7.5' x 6.5' Manfrotto EzyFrame BUT I use middle gray/grey as the keylight source. Watch to see the results.
Products shown, mentioned and/or used in this episode...
Nanlite PavoSlim 120C
B&H: bhpho.to/43oMawl
Manfrotto EzyFrame Background Set (Gray)
B&H: bhpho.to/3SVSNmV
Sekonic SPECTROMETER C-800
B&H: bhpho.to/48pGK6g
Matthews RoadRags Kit (18 x 24")
B&H: bhpho.to/481IdPy
Matthews RoadRags II Kit (24 x 36")
B&H: bhpho.to/3tbaNPo
Sony a7C II
B&H: bhpho.to/3xA2HSP
Sigma 18-50mm DC DN Lens
B&H: bhpho.to/460eFjX
RØDE NTG5 Mic
B&H: bhpho.to/3L5ortf
Sound Devices MixPre-6 II
B&H: bhpho.to/3GF0ExR
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#ep286
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Thanks for the demo; but I still don't understand why waste so much of the light energy on a gray bounce by letting half the energy get absorbed by the bounce instead of bouncing it! Wouldn't setting the power at half and using white do the exact same thing? I also assume if you're getting the same overall exposure on the camera that the light reaching the talent should be the same and therefore it would be equally comfortable, or uncomfortable to their eyes, no? Still not clear why do this.
Hopefully, Jem will test this theory with white bounce to see how much spill there is, color temps, and how much intensity is required. I did appreciate his thoughts about black stands.
It might. I’m just trying stuff I’ve never done, which I do a lot as I tend to learn from the process. Been at this for a while but I don’t learn unless I do it. It may not be something I ever do again, or it might be but there’s always a takeaway from it for me.
Looking forward to before and after comparison with a white showcard frame of the same size
Me too!
It's an interesting alternative - especially with subjects that are sensitive to bright lights. It's another idea/tool to keep in my back pocket.
Cool. Still testing to see where Inland with this one. Comparison to white coming soon.
@@theC47 That’s the word = testing, testing, testing!
This is an interesting approach, as it could be a lot easier on talent to prevent squinting, and reduce spill into the room. As I often have more output available on my key light, I think the “loss” bouncing odd gray may be worth a try. I like how Jem thinks outside the box.
Thanks. Just trying stuff.
Nice video!
In regard to the new key setup, the main thing I notice is how much your right hand changes exposure. With the soft box in Ep.285, it appeared like your hands would keep an even exposure more consistently.
Would a net or flag between the light and you help that? Difficult to tell the space and size from the video.
This video checks my boxes: needing out over light setups and examples of a Pavo slim in use. If I had to buy a slim panel light, I think a Pavo slim would be a top choice.
👍
Yep! Saw that when setting up and addressed in episode 287.
Definitely has a clean look to it. Will try for sure
Thanks for watching.
This is very interesting. Although there is strange gray reflection in your glasses - especially when you loooking straight into camera - this reflection is in the corner (outside upper) of each lens of the glasses ... looks weird.
And Pavoslims are great, although my 240C has very problematic softbox. It looses velcro hooks at drastic levels. When you detach any velcro part of of it hooks are everywhere, so you inhale them, eat them and two already got into my eye ... really annoying stuff. I reported this to nanlite service. They send me replacement softbox which has the same problem.
Seems they are aware of that issue, they promised to send me a good one, but it's already a month of waiting ....
There is also Pavoslim 240CL ... very cool light too, and can be joined together with another one - so you get 4x2. Although I'm really pushed off by the softbox quality :(.
Yep. I saw the reflection as well.
I’m not having issues with my 240C soft box so I hope you get it sorted out soon.
@@theC47 Are you going to do something with this reflection? Or you leave it there? :D
I would probably leave it. No real choice with this particular set up.
Yeah I dont know about this one Brotha.
White Balancing off a Grey Card, Painting a color grading suite Musell Grey, these make perfect sense. From Black to White a perfect Greyscale will reflect back with identical Chroma. But LESS Luma.
Why would anyone want Less Luma from thier bounce (at least today). Effectively this is like dropping Scrims in an ARRI Tungsten light, or NDing a window to reduce its intensity Neutrally.
But I dont recall Ever wanting less light from a bounce (except too much fill maybe.) And permanently reducing the available intensity doesn't make any sense to me.
Especially when in todays age, dimming down the LED lightsource doesn't have the color temperature shift, or buzzing dimmer of Tungsten.
I also find it dubious the thought that youd get less light spill filling the room using Grey as opposed to White when compensating for intensity at the subject. By what law of physics?
Dont mean to be negative, but this one's out there.
But I do whole heartedly agree about one thing:
ALL my stands are Black!
Ha! Yeah, not saying this is the way to go but just trying new stuff. I’ll dive into this a bit deeper and see where I wind up.
You should do that test with the difference bounce materials.
I will. At least compared to white. How’s things Adam? We are due for a catch up.
What are your thoughts on setup and take down?
I’m spoiled with a 1x2 panel light that just needs to slap on a battery, but it’s heavy with limited color range.
Maybe a different case would allow for quicker deployment. 🤔
Well, this set up is definitely some work but I generally like at least a 3x3’ key. 4x4’ or larger preferably. I tend to bounce off of walls/ceilings quite a bit or use a larger soft box in the 150cm/60” range. I also really like book light set ups.
Interesting. How does changing the Kelvin of light and camera change the look on skin tones?
If white balanced correctly it will be similar but the other sources in the space will change in look.
In the same vain, I highly recommend Brandon Cole's Black Dish
Just looked it up. Looks very cool. Have you tried it?
@@theC47 I have to come clean, I haven't tried it. I was soft trolling but I love the channel and respect your work. Other youtubers have shown that since the inside of the beauty dish is black it simply is not reflecting light. You are taking your most powerful studio flash and making it the same strength as an on camera speedlight. I think your test will show that your simply just bouncing less light. However, I must admit the shot looks really soft with a new wrap and roll off. Perhaps a secondary benefit: you can pan off to the bounce and set your white balance using the bounce (grey card). Keep up the good work.
And yes ... anything silver on set is so ducking annoying. I learned this the hard way, when I got my Manfrotto Pro Scrim All-in-One :D
I hear ya!