LOL! Agreed. Just watched an instructional video on classic Teal and Orange color grading in DaVinci Resolve 18 and the youtuber's face was bright, Halloween orange. Got the point across, but he looked like Violet Beauregarde from Charlie and the Chocolate Factory (only orange and not blue)... ;-)
Well done I also prefer analog lightmeters, and I agree the Sekonic products are just amazing! Suggestion for more content on this device, you could get a bit more in detail on how to use it for measuring and achieving accurate contrast ratios.
Thanks for the video, I just got one of these with the camera I just bought. Could you clarify if you want to point the light meter TO the camera from the subject/actors/etc. and not the other way around or is that okay?
@@writedirect Thanks for answering my question. I have to ask, is this type of light meter more of a hassle if you were to shoot say documentary style, or maybe your subject is far away. Would you need another light meter for that or is there a way for this one to work as well?
@@999yuiop good question. In that scenario you definitely want a spot meter. That allows you to aim it at the subject and read things from a distance. They cost more, but would do what you're after. Or...get really used to spotting middle gray and using false colors. But a meter is the best IMO.
But what about calibration for each camera? Every digital camera has his own 18 percent gray level, in log mode. For example, one camera has 45 ire for 18 grey but another camera only 30. What do you think?
Yes, but we're operating at a different level with this. The camera's false color implementation would need to work with such, but determining exposure via ISO, frame rate and aperture is independent of where a camera's middle gray is hitting. Does that make sense? If I line up a BMPCC4K, Alexa and Komodo, I can use a light meter to dial in exposure on all of them. Now...granted, you'd def have to have the exact same lens on for consistent results, which is impossible with the list I just gave. So to really dial it in you'd have to know the t-stop values of the lenses. But outside of issues like that, the light meter will do the trick.
You're welcome! Thanks for watching. The L-398A will not work as a flash meter. It's only a continuous light meter. Sekonic probably makes a flash meter, but this one wouldn't do that.
I wouldn’t recommend this light meter for that. I would get a digital version with more options. I’m sure there’s math you can do, but I would get one where you can just set the shutter and not have to worry.
I guess you could use this for photographs. But this assumes a 180° shutter. That is double the frame rate. So 24 frames would be a 1/48 shutter speed. So you can just do the math and set your frame rate to get the shutter speed you’re after and then you’ll get the correct setting. Hope that makes sense.
Yes you can. Just get a middle gray card and go that route -- As long as your camera does well with false colors. The Pocket 4K does well. In fact, when I'm outside I use that vs the light meter typically.
A solid foundation? That was a terrible explanation of light metering, discussed none of the nuances and showed a real lack of understanding of photometry and sensitometry. If you don’t know, don’t teach, it’s dangerous.
My school isn't for DPs. It's for aspiring directors who need to know enough about the craft to fill shoes when they don't have crew. This lesson does just that. I think even Ferdinand Hurter would agree with me. But it's cool that you like to dive into the science of things! It just doesn't apply to story telling on a film set that much.
@@writedirect Well if you’re not sure you’ve correctly exposed then you have no business shooting anything. And from that mixture of confused terms and dodged facts there’s no way you could be sure. You used the term solid foundation not me.
Hey @1967AJB -- If you have examples for me about confused terms and dodged facts, I'm all ears! Because here's the thing: I've been wrong a lot in life. So it would help not just me, but others here if you can give actual examples. Thanks for your interest in facts and a true understanding of filmmaking!
@@writedirect Hey, the thing is, it’s not my job to educate you, you’re an amateur. Whereas I’ve been a photographic scientist for 30+ years and I guarantee you will have seen some of my images.
Photographic scientist -- With all due respect you're commenting on a filmmaking channel. We're in wildly different industries. But if you'd like to learn more about filmmaking, I'd be happy to give you a discount to the school! Just hit me up off the contact form on our site: writedirect.co.
First creator I've seen who's lit themselves properly with pleasant, natural looking contrast. Thank you!
Hey thanks! Just subbed your channel. Much appreciated.
LOL!
Agreed.
Just watched an instructional video on classic Teal and Orange color grading in DaVinci Resolve 18 and the youtuber's face was bright, Halloween orange. Got the point across, but he looked like Violet Beauregarde from Charlie and the Chocolate Factory (only orange and not blue)...
;-)
@@JohnFisk-OHS-78 🤣🤣🤣🤣
Well done I also prefer analog lightmeters, and I agree the Sekonic products are just amazing!
Suggestion for more content on this device, you could get a bit more in detail on how to use it for measuring and achieving accurate contrast ratios.
Oh, that’s a great idea!
I've been using mine since photo school in 1973. No batteries. Easy. Reliable. Durable
Whoa. Now that’s impressive.
Thanks for the video, I just got one of these with the camera I just bought. Could you clarify if you want to point the light meter TO the camera from the subject/actors/etc. and not the other way around or is that okay?
Yes, with this type of light meter you point it at camera. Not at the lights. Directly towards the lens.
@@writedirect Thanks for answering my question. I have to ask, is this type of light meter more of a hassle if you were to shoot say documentary style, or maybe your subject is far away. Would you need another light meter for that or is there a way for this one to work as well?
@@999yuiop good question. In that scenario you definitely want a spot meter. That allows you to aim it at the subject and read things from a distance. They cost more, but would do what you're after. Or...get really used to spotting middle gray and using false colors. But a meter is the best IMO.
Another excellent video. You explain everything so well.
Very kind...you should see how many times I have to restart sometimes. Hahaha.
Awesome awesome. Buying one
You'll love it!
But what about calibration for each camera? Every digital camera has his own 18 percent gray level, in log mode. For example, one camera has 45 ire for 18 grey but another camera only 30. What do you think?
Yes, but we're operating at a different level with this. The camera's false color implementation would need to work with such, but determining exposure via ISO, frame rate and aperture is independent of where a camera's middle gray is hitting. Does that make sense? If I line up a BMPCC4K, Alexa and Komodo, I can use a light meter to dial in exposure on all of them. Now...granted, you'd def have to have the exact same lens on for consistent results, which is impossible with the list I just gave. So to really dial it in you'd have to know the t-stop values of the lenses. But outside of issues like that, the light meter will do the trick.
thank you for the video! very useful! is there an option to use it with studio flash?
You're welcome! Thanks for watching. The L-398A will not work as a flash meter. It's only a continuous light meter. Sekonic probably makes a flash meter, but this one wouldn't do that.
@@writedirect thank you so much!
Thank you, is the casing made of metal or plastic?
Plastic, but bullet proof!
I just ordered the analog light meter because the digital light meter I wanted is out of stock.
You’ll like it. Bullet proof.
There is a lack of close up shots.
Note taken - Thank you!
How do I compensate for a 90 degree shutter with this light meter?
I wouldn’t recommend this light meter for that. I would get a digital version with more options. I’m sure there’s math you can do, but I would get one where you can just set the shutter and not have to worry.
@@writedirect Thank you for the reply. I just happen to already have this meter so I just stopped down a stop from what it read.
Excellent performance
Reg
Rajeev menon
Thank you!
Wait, what if you're using this for photo? Is it cine only?
I guess you could use this for photographs. But this assumes a 180° shutter. That is double the frame rate. So 24 frames would be a 1/48 shutter speed. So you can just do the math and set your frame rate to get the shutter speed you’re after and then you’ll get the correct setting. Hope that makes sense.
Wow, that thing is expensive! Can you get away with only using false colors while learning?
Yes you can. Just get a middle gray card and go that route -- As long as your camera does well with false colors. The Pocket 4K does well. In fact, when I'm outside I use that vs the light meter typically.
Subbed
A solid foundation? That was a terrible explanation of light metering, discussed none of the nuances and showed a real lack of understanding of photometry and sensitometry. If you don’t know, don’t teach, it’s dangerous.
My school isn't for DPs. It's for aspiring directors who need to know enough about the craft to fill shoes when they don't have crew. This lesson does just that. I think even Ferdinand Hurter would agree with me. But it's cool that you like to dive into the science of things! It just doesn't apply to story telling on a film set that much.
@@writedirect
Well if you’re not sure you’ve correctly exposed then you have no business shooting anything. And from that mixture of confused terms and dodged facts there’s no way you could be sure. You used the term solid foundation not me.
Hey @1967AJB -- If you have examples for me about confused terms and dodged facts, I'm all ears! Because here's the thing: I've been wrong a lot in life. So it would help not just me, but others here if you can give actual examples. Thanks for your interest in facts and a true understanding of filmmaking!
@@writedirect
Hey, the thing is, it’s not my job to educate you, you’re an amateur. Whereas I’ve been a photographic scientist for 30+ years and I guarantee you will have seen some of my images.
Photographic scientist -- With all due respect you're commenting on a filmmaking channel. We're in wildly different industries. But if you'd like to learn more about filmmaking, I'd be happy to give you a discount to the school! Just hit me up off the contact form on our site: writedirect.co.