Today we're talking about flashes.
So if blinking lights bothers you,
you probably don't want to watch this video.
But if it doesn't, you should.
Because I think there's something
pretty cool here that I want to show you,
with the new Godox system.
And I think it'll be really helpful.
And, I've got Julie helping me today.
-Say hi, Julie. -Hi, Julie.
So... let's get Undone.
[offbeat music]
♪ Gerald Undone ♪
♪ He's crazy ♪
What is happenin', Donk Squad.
I'm Gerald Undone, and today, as I said,
we are talking about flashes.
So, a little bit of a backstory.
Julie, she's a photographer, as you guys know.
And she has been using a Canon system
for a really long time. Which she had a whole array
of Canon speedlights. The big 600s and the 430s
and they were all wirelessly triggering each other
and it was really great. But we've been thinking
a lot lately about maybe switching systems to Sony.
And you know, trying to get a whole bunch
of wireless things that make all those speedlights
transfer over to the Sony system is not efficient.
And the Canon stuff isn't cheap to begin with.
But Godox has been around for a little while now.
They've got some great alternatives to--
To this whole, everything from really small ones
like this little guy. All the way up to some big strobes.
That are more affordable and actually do a lot cooler things.
And one of those things is what I want
to show you today. And this is great for anybody
who's considering switching systems.
Or for anybody who hasn't bought any lighting yet,
and they're looking to get like a portable--
Sort of portable lighting solution involving speedlights
and strobes and that kind of thing.
Because they want to take it around and do some shoots.
I've got some great ideas for you here.
Okay, so for this video, what I'm thinking about doing
is giving you a little bit of a demo.
And I want to show you how you can
sort of simultaneously use the system
for multiple camera setups. That way, it's not so--
So drastic of a change, where you just have to--
I gotta sell all my Canon stuff and all my lights
and all my bodies and everything.
Then take a chance on say, Sony or whatever.
Or maybe you're on Sony, you want to go back to Canon.
You're on Nikon and you want to go to Sony.
And like, it doesn't matter.
Any company that Godox makes this for, which is quite a few--
I'll put the list here, but it's--
There's like Canon, Nikon, Sony. I think there's like some Fuji.
Maybe even Panasonic. There's a lot of brands in there.
If you've got any of them, and you're looking to switch,
this will work for you. So, the main guy that's going
to allow this to happen here this little guy, the TT350.
Now this is a flash itself.
And its guide number, I think, is around 38.
So, it's not extremely powerful.
It's a little bit less powerful than a 430,
if you use Canon. But it's good enough for a little bit
of fill flash or something on camera.
But what's great about it is it has the transmitter
built in. And because this works off of the--
The hot shoe on your camera, you can do TTL,
high-speed sync, etc.
Now they are obviously built for a specific body.
So, this one is the TT350C.
"C" for Canon. The "S" one is for Sony. Makes sense, right?
Now, what's great about them though.
This is where there's some miscommunication going on.
I read a lot of forums
and I tried to really get an answer on what all you can do
with the Godox to make it work.
Godox has some great lights that don't go on camera.
Like the AD200 for instance. Julie, do you have an AD200?
Just to make it clear,
I'm saying "A.D." Alpha-Delta 200.
This is a nice light here.
But it's best used obviously wireless triggering.
You're not gonna put this on your camera.
Now you can buy just a wireless trigger for whatever body.
And you can buy multiple wireless triggers as well.
And they're really affordable with Godox.
In Canadian, they're like $99.
You can get a cheaper one that only allows you
to go through one line at a time.
Or you can get, like, the full screen one.
Cheaper one's like 70 bucks something.
The full screen one's like 100 bucks.
But these speedlights, they're only, I think, like $110, $120.
So, they're not that much more, and you get--
Takes the same batteries, two AAs.
So you can use your eneloops.
But, on top of that, you get a little light with it.
But what's great about it, is that it transmits
the same information.
So in our case, because we're still sort of halfway
between Canon and halfway between Sony,
what I'm going to show you how to do,
is how to, sort of use the lights
in the same configuration.
Getting the same amount of lights-
Without buying extra transmitters.
Whether using Canon, Sony, Nikon--
it doesn't really matter. It's really, really great.
So what Julie's gonna do, is she's gonna set up
one of these AD200s. Which is set as a wireless slave.
So it's set up on Group B, Channel one.
And we're gonna control it with this light.
And I'll start off on one body. So I've got the Canon one.
So will you pass me a Canon camera and lens, please.
Okay, so, I'm gonna pop this guy on the 5D.
This is a 5D Mark III.
The idea is we're going to set this light up to master.
Which is pretty easy, you just hold the sync button
down until the option shows up that's flashing the--
The radio control.
Then you set it to the "M".
So it'll be radio M, for master. And now, it's on Channel one.
And this- This one on the camera is always Group A.
You can make other ones Group A
or you can make them different groups.
So like we set the one AD200 behind us is on Group B.
And we can change that by just pressing through
different groups. So right now, B is set not to fire.
But we can set it to one eighth power.
And then we can go through to Group C and change that as well.
Now the only shortcoming with using this method,
is that you only get to control three groups.
If you want to be able to control up to five groups:
A, B, C, D and E, you're gonna have to get
the dedicated transmitter.
But I think three groups is enough for any sort of
three or four point lighting system for the most part.
It's just a really awesome way to do it without over-investing.
So I'm just gonna fire up a shot and make sure we're set up.
I'm gonna aim it off a little bit this way.
So it's not too blinding. Let's go ahead and do one.
There we go. So that fired.
And I think-- Did the AD200 fire as well?
So, this one right now is controlling that one.
Pretty standard right?
But what we've got now--
So I'm going to set this guy down.
So on this light stand back here, this is the TT350s.
This is the one for Sony.
Now, what's great about them,
is even though this one's for Sony, we can still transmit
from the Canon TT350.
The Canon's high-speed sync.
The Canon's TTL.
It can get transmitted through into this Sony--
Because it doesn't care that it's Sony.
The flash itself, the Sony part is only the mount.
The hot shoe. The rest of it doesn't care whether
it's coming from a Canon, coming from whatever.
And this is great because they've made transmitters
and receivers for other systems before
that were meant to kind of unify your flashes.
But it wouldn't-- They wouldn't--
You couldn't shoot the TTL
or the high-speed sync from say a Sony camera,
through this third-party system and use it on a Canon flash.
It just wouldn't work.
You would have to keep within system,
if you wanted to use those features.
But you could trigger them. But the features are what's great.
You know, all these new lights, they have high-speed sync
and the TTL stuff is getting really good.
We want to be able to take advantage
of those features. So what's great about
the Godox, is Godox doesn't care whether it's Canon
or Sony. So if I turn this light on and I set it to Group C...
And I have to set it to slave.
So the same idea, I hold down sync.
And I change it now from M to S.
And then now I will change it to Group C.
And... that's perfect.
So, I'm gonna set this behind, next to the AD200.
So can you make them, Julie, so they kind of face this way?
Okay. So right now we've got the AD200,
which is a really powerful light.
It's more powerful than a speedlight
you can put on the camera.
And then beside it, we have the TT350 for Sony.
Which is the same speedlight that is on the Canon right now,
just this is the Canon version, it's a Sony version.
So, if you were to buy that one,
so that you can also use it from your Canon,
you don't lose the light.
So, when you're shooting with the Canon,
you still get to use the light.
And when you're shooting with Sony,
you get to use the same amount of light.
So you don't lose any light.
See, this is the best part of this.
So maybe you wanted to use the one TT350
as like a hair light. And you have this one
on the camera as maybe a fill.
And then you've got the AD200 as your key.
It's the same configuration when you're shooting with Sony.
You just switch the positions of the--
Of the S and the C model. I hope that's not too confusing.
So I'm just going to try to position it in a spot
where you can see all three without-
What, you got another one in Group B?
Julia's got another AD200 set up.
I didn't realize it. So, all four lights should fire.
So that's what I said, three groups should be enough
for the average. Then, I got a four-light setup here.
And we're just going to take a test shot
and make sure they all fire. Three, two, one!
Okay. And now, we're going to the old switcheroo.
So, you can see how it works.
So, what I'm gonna do is, I'm gonna take this guy off.
Julie's gonna grab us a Sony setup.
And I'm gonna put the Canon on--
We're just gonna switch it. We'll do it now actually, live.
Because, you guys don't got anything better to do, right?
Okay. So I'm gonna unscrew this one.
Show ya so you know there's no funny business
going on. So this is the one that just came off
the Canon. I'm gonna give that to Julie.
Hang on, she's gonna grab the Sony one.
So we're not going to need the 5D Mark III
for the moment. So maybe you're doing a transition,
maybe you have a main camera as one brand
and your backup is another brand.
Or you've got a shooter that you're trying to work with.
And that shooter uses a different brand than you do.
This is a great solution. So here, I'll do that.
Can I give you the Canon?
See we're getting all confused, here.
We're trying to do it in a linear way
and Julie's coming here with things.
So this is the Canon one.
You put that one back there where you have this one.
And now I've got the Sony one.
And we're gonna put this one on the Sony, here.
This one's an a7R III. The body is.
We'll just get that one on-- the shoe is
a little bit tighter on the Sony.
Alright. We'll strap that one down.
Now when you do this, the only real inconvenience,
because everything else is awesome,
is you just have to switch it.
So Julie's gonna switch that TT350
that was on the Canon. She's gonna put that to slave.
And I've gotta set this one to master now.
So we just hold down the sync button
until it flashes, and we just move it over
to master. So now this one's all set up.
Do you have that on slave?
So it should be the exact same result.
But now as long as the camera's on, which it's not.
Umm. Professional here guys.
I don't even have the camera on.
Okay. So we're all set up here.
I'm gonna take a snap.
Make sure that I'm not blocking anything.
And this one should now control those three.
-Did it work? -Yep.
Fire? We'll do one more, just to be sure.
Three, two, one.
And the recycle time is great on these Godoxes,
as you can see. They're pretty much--
Back up and ready to go as quickly as--
I told you I'd be flashing you a lot in this thing.
Now what I'm gonna try,
something I've never actually tried before,
is to see if we could have both bodies
simultaneously be on master control in the 280, 200s.
So, you could really push the envelope, as I was sayin'.
You could have one shooter on the Sony,
one shooter on the Canon.
Both controlling the same lights at the same time?
Maybe. Hopefully. I don't know. We'll see.
So for this one Julie, can you throw the Canon TT350
on this body. And I'm going to keep the Sony one here.
And we'll see if it causes any conflicts or not.
Because this is something I could not find
any information on the internet.
And there was already bad information,
where people are saying that you can't control with the TT350.
It's only optical. You can't do TTL.
You can't do high-speed sync.
But it's not. It is completely radio. And it works on...
so far, every Godox product that we've tested on.
Just three groups only.
That's the only limitation. You can only have three groups.
So if you can set that one to master again.
So, if I fire mine, it should not set off Julie's camera.
But it should set off the AD200 right here. Let's see.
What fired? Both the AD200s?
-Yeah. -Okay.
Now here's the trick.
Can Julie now fire her camera and set off the same AD200s?
Let's give it a test right now.
-I think it worked. -Did this one go off?
Try one more time.
Julie will shoot, then I will shoot.
We'll do it in quick succession.
I have to kind of turn and look, though.
We'll look all at the same time, okay?
So Julie, you fire. Now I'm gonna fire.
And I'm blind, by the way. I think it worked, right?
Both times? So none of us can see.
But hopefully you guys saw that. So look at that.
And it's the same. It's the same lights.
So if we weren't doing this, like you know,
you could set this camera. You could take the light off.
Set it behind a subject.
So like this is your hair light now. Set it to slave.
And that's all it is. Just changing one dial.
Now, it's so awesome because you get to use
the same systems and the same amount of lights
and it's completely interchangeable.
And it works perfectly, because the shutter speed
on this one was 1/2000.
So the high-speed sync is working really, really well.
So I think that's pretty much it.
The Godox products are fantastic.
For you guys that already have Godox products,
I wanted you to know you can do this.
If you didn't know. And it's great.
Great pricing for people who have never bought
any lighting yet and they're looking to get it.
Or they're looking to switch.
Something else cool you can do with Godox.
For the people that are thinking about switching systems.
Maybe they've been like "you know I really want
that Eye AF or something from Sony."
But you're- You're like us, where you're on Canon.
It removes a tether right?
You don't want to be locked down to a system.
Where you're like "well it doesn't matter
what comes out, I can never leave Canon."
Or "I can never leave Nikon." Because I have so much--
So many lights invested in them.
Third-party lighting was always kind of the way
to break free from that.
But you'd usually be where you have to buy
really big expensive sort of third-party strobes.
But now Godox gives you the option where you can go
with a great third-party solution
that is less expensive and better. So it's cheaper.
How often does somebody say it's cheaper and it's better?
By the way, I guess I should probably say,
based on how I'm talking about it, this is not an ad.
If you noticed I haven't made a video in the last week.
It's because Julie and I have been exploring
the transition to Sony.
And so that's taken up a lot of our time.
And one of the first things that we did
was like, "Well, we got to solve this lighting problem."
And I'm just really enthusiastic about this.
I thought this was a really great thing.
But I am in no way sponsored.
And if there was an issue with some of this stuff,
I would let you know. That test that I just did with the--
They could shoot at the same time?
That might have failed miserably
and I wouldn't have edited it out.
But it worked great, as far as I can tell.
We used one of those held up in an entire camera store.
With the camera at 100 ISO.
We set it on full power and we fired it off.
And it blew out the entire camera store.
And, like, it's insane how great they are.
They have lithium-ion battery packs,
so it's kind of like a drill. You just like pop this guy.
Pull it out.
Dunk that in your charger, which they give you.
They give you a whole bunch of accessories,
it's pretty awesome. Charge it up.
You don't have to mess around with,
all the AA's and everything that you do
with the Canon 600s.
Charge it up. And then you throw it back in.
Just pop it in. Clank!
And then you're good to go. They're awesome.
So, I hope you guys found this video useful
in some way or another.
We're still in the testing phase.
This will be part one, I guess, in a sense.
Of the journey of switching from Canon to Sony.
You know from a practical point of view.
People like to get there and they hold
the two bodies to talk about tech specs.
And I could do that too.
But there's a practical aspect
because Julie's a working photographer,
who has to use this gear.
So I'll be updating as we go on,
what's some of the practical stuff
you have to deal with changing from Canon to Sony.
Including things like accessories
and changing your lenses over.
And so yeah I'll be keeping you updated on that stuff.
If you enjoyed this video,
if you found it helpful make sure you give it a like.
And share it with somebody if you think--
You got somebody's trying to switch.
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You got somebody who's looking to lighten.
Send this video over to them,
because maybe it'll be helpful to them.
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Alright... I'm done
♪