check out what we have in the studio
here today the aperture 300 D mark 2
this thing is a beast and it's crazy
bright maybe a little bit too bright but
here's the question how much light do
you really need do you need something
this crazy cuz you could get something
like this for 20 bucks and that light up
there is the aperture 120 d the original
one and they think it's discontinued but
it's 545 bucks and this thing is close
to 1,100 bucks now some of you may be
like all the [ __ ] $1,100 for a video
light but in reality it's actually a
pretty good value when you compared to
other lights with this amount of output
to be super technical it's 45 thousand
looks at one meter but maybe you've
worked with HMS before it's about a 575
watt HMI equivalent in plain English
it's just super bright most of us
probably grew up with standard light
bulbs where it's a 100 watt light bulb
was pretty bright if you want it really
bright than 200 Watts er here you do
like a 60 watt light bulb but with
technology evolving watts is no longer a
good way to measure the amount of light
it really just means how much power it's
drawing or how expensive your electric
bills gonna be this one now wattage is
definitely still a good thing to know so
you don't overload your household
circuit most households generally have a
20 amp circuit so it's about 2400 watts
you could run through it before the flip
gets switched but generally we try to
keep it under 2000 watts which is a lot
easier now because LEDs are super
efficient but back then it used to be
you know three simple lights and you
could blow it even though this is crazy
powerful I clocked it at about 329 watts
on full power so what we really need to
look at is the photo metrics and the two
most common ways to measure is Candela
per square foot or Lux I mean it's easy
to convert between the two but I think
Lux is probably a bit more common it's
more on the metric system opposed to
square footage so let's go with Lux and
that is going to be the measurement of
how much light actually hits me in the
face
luckily this is just an LED and not a
tungsten notice my face would it
literally just melt it off right there
so how much Lux do you need to light
something well see an example 200 Lux is
the minimum for a dining room at a
restaurant so it could be pretty dim in
there 500 Lux is about a typical office
space or a retail store generally for
video lighting we're aiming for about
8,000 Lux and this is a very general
rule of thumb obviously it's gonna
change completely depending on your
camera your ISO settings and your
aperture but a thousand looks is a
general good baseline to try to keep in
mind now 10,000 Lux is generally around
the threshold for your eyes to tell your
body to wake up so it's good to go out
in the morning and look at the Sun a
little bit not straight into the Sun
generally like in look at bright things
and your body will naturally want to
wake up being in the shade during a
sunny day is right around 20,000 Lux and
if you're in direct sunlight go up to a
hundred thousand or a hundred twenty
thousand looks so super bright in direct
sunlight the thing that makes these
lights tricky to read is that every
little thing you do to it it's going to
significantly change your Lux readout so
for example i assuming this light is one
meter away from that backdrop this is
about 11,000 lux which is brian you
can't even tell it's all blown out by
11,000 right now if I throw on this
reflector we're looking at 45,000 Lux
because all the light is focused forward
a little bit more so now that's about
45,000 Lux right they're too bright for
this so every time you do anything with
it from throwing a gel in front of it to
a diffusion or even just changing the
focus of for now it's gonna completely
change but distance is probably gonna be
the biggest factor in all this because
of something called the inverse square
law and the inverse square law basically
means the closer you get to the light
the more exponentially brighter it's
gonna get so let's say I start all the
way back here it's hitting me and as I
get closer it gets slightly slightly
brighter gets slightly brighter and then
just the last bit goes oh man it's
really bright and this inverse square
law also applies to sound so let's say
you have headphones right you have them
in and when they're right up against
your ear it's like oh this sounds really
good but you just pull it away just an
inch away from your ear all of a sudden
it sounds quiet and then it slowly fades
away the further you bring it out and
this is why we have speakers it's kind
of like when you're at a concert right
if you ever get up front you stand right
next to a speaker you're just
like yeah and then like blood comes out
of your ears that's why a lot of places
have huge speakers set up really high so
they can blast it and by the time it
hits the audience it's at a nice low
even spread so check this out I have
this light right here and it's right up
in my face so I'm very early in that
curve so if the curves going like this
I'm right here a lot of light hitting me
and by the time it evens out is when it
hits that background so that's why I'm
so much brighter than that background
now if I want it to be a little bit more
even I'm gonna push this back and now it
is further back and since it is further
back I am going to have to raise the
intensity to bring that light exposure
back up on me but with that distance by
the time the light hits me it's kind of
dropped to about this part of the curve
and then the background is just a little
bit darker than I am so the level
differences are much closer and tighter
so if you are trying to control a little
bit more of that shadow roll off then
this is one way to do it but I
personally like that contrast he looks
oh let me bring it back in so now that
it's so much closer you can see that
roll-off happens much quicker yeah I'll
just flick these on for the background
there we go
so all these factors play into how
bright your light is gonna be one thing
that arrey does that I really love is
they have this little app or web tool
that you can use to really calculate
exactly how bright each light is gonna
be depending on how you have it modified
or set so that kind of tool is really
nice especially if you're trying to plan
ahead for a shoe but most companies will
at least give you a photometric readout
of a few different distances at a few
different light levels so with all that
being said in the studio space like this
I'm actually on a fast lens I'm out of f
1.6 with my ISO on 160 so there's a
really fast lens I don't need that much
light in here and I also have the
ability to bring these lights in very
close so these lights are plenty for
this studio I actually have this main
key light on only like 50% right now so
300 D mark two tons of power when do you
need that much power let's take it out
for a second oh hello Carrie what you
doing up there I'm filming a video hold
on stay right there
you guys see how much power that is I'm
not tall enough for this and look at
this shot of Terry here where it looks
fine but she's just in the shade and if
I wanted to add any sort of contrast I
would need to add quite a bit of light
because there's already so much like
pre-existing I need something stronger
than what's already out here so here's
with no light and I'm gonna go turn it
on
look how much more alive everything
looks it almost looks like the Sun I
mean especially if I were to just
diffuse it a little bit more it looked
pretty good and much more lively than it
used to I'm gonna turn it off again and
I've had shoots where we were trying to
make it look like we're having a
barbecue the problem is while we were
turning around we felt a little bit
behind schedule and the Sun set
while we are doing our turn around so
half the shots were while the Sun was
coming in and the other half of the
shots were after the Sun had set so we
ended up having a setup to area ma teens
which are huge slides to make it
literally look like the Sun not saying
this is as powerful as the area ma teens
but those are the types of situation
where you might be like oh I need this
shot to look like the Sun is still
coming in the more power you have
capable from a light the more you can
swing these kinds of bigger setups I'm
gonna try throwing this light diliman
here because it is a little bit harsh it
is gonna cut down the amount of light
that does get projected forward but I am
kind of curious to see how it look one
thing I did notice about this light if
it doesn't come on instantly which is
nice see so when I turn it on it doesn't
come on instantly it kind of turns on
lower and then brightens up which is
really nice I mean one thing you're
supposed to do on set is before you turn
on a bright light you're supposed to say
striking and that's just giving people a
heads up that like you're staring into a
live picture close your eyes first I
Kendra look away oh yeah look at that
even going through that diffusion it's
looking pretty good that's a lot of
light on there I mean this is awesome
it's not like I'm even wide open there's
still quite a bit of pre-existing light
I'm at an F 5.6 ISO 400 yeah that's
pretty good look at that this is what it
looks like if I turn it off I see that
you guys with this lighting Peeta just
looks like she's depressed but with the
aperture 300 d so this whole thing is
new and it's awesome because one it
doesn't have a fan so it's completely
quiet and also it can
clamp on to this stand right here
opposed to having to find a spot to try
to dangle it off oh I love that and this
came with the light itself now I do have
one complaint which is at least with
this version is these D mounts I can't
get them to stay in it doesn't fully
click in even if I press down really
hard and I've been trying to get it to
see perfectly for a while and it does
see enough to turn on the light
obviously but at any point I could just
pull it out without pressing this button
now this is a pre-release version so I
will check in with aperture to see they
are gonna fix it for the consumer
version but this specific one the red
batteries at least will not fully click
in here's a swift onyx V now let's try
this guy yeah this one - it kind of like
halfway seed so it's nice but I would
prefer to not just come out with just
some pressure I would rather have it
come out only if I push that release
button because I've had that happen
before I was shooting out of the side of
my Jeep with the area like so once and
then I had a v-mail battery attached to
an adapter to a gold mount battery on to
the area Alexa and I didn't realize that
adapter didn't perfectly seat down the
batteries and at some point must have
nut something or bump something is just
bumped off and flew out and I literally
saw the battery fall down and just
explode on the street it didn't actually
explode into flames but I saw it bust up
into like ten different pieces alright
so now we're really losing the light I'm
all the way at a f-1 point for our ISO
3200 so definitely really dark here
let's say we have a whole space like
let's say there's gonna be thirty people
here and we want to get some wide shots
of everybody here even if we were to set
that softbox on the light it's still
gonna look really sorce so a trick I've
used a couple times is setting up a
Ultra bounce some more kind up up high
and that would be like a big thing
that's like eight by eight feet or
twelve by twelve feet and set it way up
there I don't have the resources to do
that because usually that's the type of
thing that you have your gaffer and grip
and electric team set up but let's do a
little miniature version for you guys
once you have that set up you just want
to kick as much light into that bounce
as possible that would throw a nice even
natural-looking light on top of
everybody a post just like splotches of
lighting sometimes you want splotches of
the lighting if you do it right that
could look cool but
you just want that ambience and even
when you just need a little bit of
ambient light this intense light gets
spread apart so thin and so far that
this intense like does become something
nice and soft and gentle over this whole
yard overall I'm a huge fan of this
aperture 300 D mark - definitely the
type of product I would expect out of
aperture I mean it's no secret I'm a
huge fan of their lights and I love that
they create these really great products
that are for indie filmmakers like us
but give us a lot of power and
performance out of them and they have
all these effects in here like this is
paparazzi right here thank you thank you
yes I'm the best and I do also love that
I can control all three of my aperture
lights with just this one remote so
that's also useful and they also do come
out with an app to control about 300 DS
they also made this lantern literally
only takes like two seconds to set up
yeah look at that that's pretty cool
especially if you're trying to light up
a space or maybe if you have like a
table of people and you want to put
something in the middle and light
everybody by the way this video wasn't
sponsored by a pitch or anything like
that like if I thought there like sucked
I'm a lot to say so that's actually kind
of nice how it creates a little bit of
this backlight right there and it's kind
of cool my last video was all about the
sony a6000 and how i think it's an
awesome camera for under a thousand
bucks
stop comment was from kanabi or kanabi
12 potato jet says yes I recommend the
Sony a 64 hundred cannon cancel all
sponsorships with gene right now oh man
that ship has sailed gene I'm waiting on
your thoughts and review of the Fuji XT
3 and xt 30 have a feeling you'll be
blown away fine I'll order it I was
trying so hard to get through this month
without spending any more money Timothy
says this guy wants image stabilization
just strap it to a power pot like the
rest of us if you get that reference
then thank you for being an OG
subscriber waiting for the shoe and
crane m2 gimbal review okay first of all
I'm my own independent person okay you
guys can stop telling me what to do I'll
make a review on whatever I want but
okay yeah it's coming hats off to the
only guy that correctly pronounces you
and not that you ever read these
comments well why does everyone think I
don't worry these calm I'm reading
comments in our IV comments in every
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