Archive for the 'Filming' Category

16
Feb
17

Canon 1DX mark 2

canon-1dx-mkii_option-2_2

This is one blog that I’ve not been looking forward to writing. As a proud owner of a 1DX myself I am gutted that the Mk2 has even been produced to be honest. But as I can’t stop progress, I knew it would happen sooner or later. Inevitably, the Mk2 is better than the original as you would expect.

For those of you in the know, Canon name their cameras in the reverse order numerically so the lower the number the better the camera, hence the 1 series denotes this as Canons flagship model. If I am to be honest I believe the 1DX was a photojournalist’s camera, built to be used every day in whatever environment and whatever weather the operator found themselves in, from the touchline of a rugby match to the fence outside Buckingham Palace these cameras are built to work and to work hard.

We’ve received so many enquiries about the Mk2 that we couldn’t disappoint you any longer. I do love this about Pixipixel, we are a rapidly growing company but still listen to you folks, our customers, and respond to your requests, so keep on telling us what you want.

Anyway on with the blog (and remember this is hurting me more to write than it is for you to read). As I said above the 1DX mk 2 is the new Canon DSLR flagship, it may not have the resolution of some of its “lesser” siblings like the 5DS or 5DR but it has (almost) the ability to shoot in the dark and for me that’s more useful than massive files. I’m pleased to say, that although the pixel count has increased significantly (now 20.2mp) this miraculous ability to shoot using higher ISO’s in gloomy, dull or dark situations is as good as ever, in fact its better.

The Mk2 has improved video capabilities too now allowing for 4k 60p capture, making it a genuine option for you moving image folks. 120p can be achieved in full HD for your slow motion creativity and truly amazing AF tracking keeps the subject pin sharp. A new touch screen allows for easy accurate focus and this works seamlessly with all Canon EF lenses.

1dx-mkii_option1

If shooting faster than a Gatling gun is your bag then look no further, the Mk2 can shoot at 14 fps with full AF / AE tracking or up to 16 fps in live view. This is thanks to the new DIGIC 6+ processors and a new mirror drive system. If you use the latest Cfast 2.0 media then a burst of 170 uncompressed 14-bit RAW images can be captured almost before you knew you were trying.

I find it hard to believe that Canon could have improved the auto focus over the Mk1 but they have. Now with 61 selectable AF points (including 41 cross type and 5 dual cross type) and advanced A1 Servo AF III + and improved EOS intelligent tracking you really don’t have much of an excuse to miss that vital sharpness. Even when you choose to shoot at f8 all 61 points are at your disposal including 21 cross type sensors. She really is an impressive focusing beast. I could take my glasses off and still get everything sharp I reckon.

A built in GPS system with automatic time-zone updates is a neat inclusion (should you ever get lost or lose your watch) and lightning fast Superspeed USB 3.0 and Gigabit connectivity via Ethernet or the optional WFT-E8 WiFi adaptor caters to numerous workflow styles.

Brucie coolness rating has to be a well-deserved 10 out of 10 as you would expect from a Canon top of the line body, as much as the little green monster inside me wants to mark it down I really cant. Ok so I’m jealous because its better than my camera but you needn’t be because we got it in for you, yes YOU so pop in and let your inner paparazzi have some fun.

 

Many thanks BB

06
Feb
17

Arri Master Grips

“It’s all in the wrist,” well that’s what I’ve been told anyway.

Many years ago when I decided to learn to play the drums at school I was told it was all in the wrist, I never could get the hang of it but think that was more to do with having no rhythm so I gave up, then my mum told me it was all in the wrist when it comes to whisking so I brought myself a KitchenAid, in fact I’ve only found one pastime that my wrists seem to help with but we won’t go there in this blog.

Still, moving swiftly on from that I would like to tell you all about one new and exciting use for those wrists of yours, the all new Arri Master Grips.

For years the traditional style cine handgrips have helped firmly support and stabilise a camera on the operator’s shoulder and that’s about it. I’m sure that I’m not the only one who has wished that I could turn the wheel on the grip to alter focus rather than having to let go with one hand to do so. Well it would seem the good folks at Arri have been thinking the same thing.

The latest addition to Arri’s ECS (Electronic Control System) are the rather trick Master Grips. They are available in four versions: Right side or Left side and with either a Thumb rocker for super smooth zooming or control wheel for iris and focus adjustment. Our setup allows for the left hand to switch between focus and iris control leaving the right hand to take care of zoom.

image003

We can see this simply as a merging of documentary and cine style equipment allowing for a best of both worlds setup. Particularly when using small cameras like the Alexa mini with its reduced level of user interface, solid cine style grips with documentary style controls are going to be a great improvement in ergonomics.

arri-master-grips-4

When I first looked at these grips it occurred to me that the camera operator would have to become a multi-tasking genius. Not only holding and aiming the camera but zooming, focusing, and adjusting the iris all by themselves, that although possible would be challenging I imagine. I’m happy to say that Arri are one step ahead of me with this. By using the Arri WCU4 controller any or all of the functions can be taken over by the 1st AC so nobody is out of a job just yet.

Built to Arri’s super high standards and based around the proven ergonomics of the much loved Arriflex handgrips the master grips are solid, rugged, and reliable even in harsh shooting environments. Controls are easy to reach yet protected from accidental triggering.

At the moment the Master Grips allow for full control of cine lenses including adjustable motor speed, zoom response and motor limits, they also allow for control of integrated servomotors on ENG and EF lenses.

Featuring easy set up using the integrated touch screens or physical buttons all controls are fully configurable with reassuring status readout on the controls themselves.

arri-master-grips-zoom

I must say the Master Grips are rather impressive.  Arri have done their homework well on these, incorporating everything you would expect and more into a great package, putting you firmly in control whether you are shooting as a single operator or part of a crew. The Master Grips are sure to become a must have addition to your kit list. I’m giving them a full 10 out of 10 for my Brucie Coolness Rating.

So if you want to get you hands on some give us a call at Pixipixel Hoxton and we can arrange for them to be on your next shoot.

Oh and just in case you are wondering what that other use for my wrists is, well fishing, obviously!

Many thanks

BB

arri-master-grips-iris

25
Jan
17

Wind Machines

Well I never for a moment realised how much was involved in a wind machine, or how hard it is to find any information regarding them and their use.

I will provide you all with a simple comparison between a range of the units that we hire. Anyway below is my take on the subject and the technical details.

I guess the most important thing that I have learned regarding wind machines is that it’s not all about power and the amount of air moved.

We need to think about wind machines in terms of spread and power, much like a light.

For example do you want your wind machine to blow the hair of just one model or are you trying to flutter a group? Obviously if you are just aiming at one model then a narrow channel of wind is great but if you are going for a group “blow” then a wider spread would be better.

Power is obvious, the harder it blows the more movement you will get in the subject but control is the key here, what you are looking for is the ability to vary the intensity of the wind from a gentle breeze to a full on hurricane and varying levels in between.

There are other factors to consider such as the method of control; use a DMX or a remote? The size, weight, and the amount of noise it makes during operation need to be thought about in relation to your project.

Also a rapid on or off “bump/gust” feature is useful. For example, in a film scene when a door is opened or closed, a rapid on/off feature would be useful.

And finally, the ability to disperse smoke, fog, fake snow, or dust (normally fullers earth) without destroying the machine is a bonus.

Personally I am a great enthusiast for waving a ½ poly board up and down for most “normal” looking movements in a models hair, its very basic but also very cheap and very effective for a one-off breeze of air. Having said that we are in the business of getting equipment out on hire so lets not recommend that too often and needless to say wind machines are far more consistent and precise and also don’t complain about having aching arms by lunchtime.

Detailed tech specs for our stocked units can be found at the end of this article.

The Bowens units are a “point and shoot”; they are neat and compact and have variable speed but do not allow for adjusting the spread of wind. The basic unit (now discontinued) has a corded remote and its two bigger brothers have wireless remotes.

The Reel EFX Turbo units both have an adjustable spread facility and a burst function, but no remote control.

The Mole Richardson is the big daddy of our range and has a bump function to rapidly increase the power and produce a blast above the set output. A DMX control and an “almost instant-off function” are standard features. It also has an integrated radial-vein collimator that narrows the spread of the wind but can be removed for a wider dispersal. This is the only unit we have that is actually recommended for the dispersal of dust. Exhaust fans from a plant hire store are great for this but are far less controllable.

1. Bowens Jet stream

Power Requirements 120V, 50/60 Hz, 2.5 Amps
Maximum Power 2,500 RPM, 940 CFM

 

1

2. Bowens Jetstream 250

Output at 1 m 8MPS
Max Power 240V
Control Cable Length Wireless Remote
Length 315mm
Width 260mm
Height 260mm
Weight 9.6kg

2

3. Bowens Jetstream 350

Output at 1 m 7MPS
Max Power 240V
Control Cable Length Wireless Remote
Length 390mm
Width 365mm
Height 365mm
Weight 13.3kg

3

4. Reel EFX Turbo 2

Motor: Brushless, AC, Ball bearing

Power: 110 – 125v/4 amp or 220v/2 amp (50 – 60) cycle.  RPM 3450  CFM 2000

Controls: Solid state speed control, one touch blast

Weight: 20lbs

Mounting: Floor stand with adjustable tilt and universal mount, C stand, Junior stand

Dimensions: 14″L x 19″W x 22″H

Peak Velocity: (Focused Beam): 20mph at 10ft

Focused Beam: 10 degrees (3.5foot diameter beam at 10ft)

Flood: 45 degrees (8ft beam at 10ft)

 

5

5. Reel EFX Turbo 4

 

Motor: 2 HP Baldor® Premium Efficient 3-Phase

Power: 110 – 125v/4 amp or 220v/2 amp (50 – 60) cycle.  RPM 3450  CFM 2000

Speed Control: Solid-state variable-frequency drive with active silent smart-switching & active power-factor correction

DMX Control: USITT-compliant DMX 512 w/5-pin XLR

Weight: 54 lbs

Mounting: steel floor stand with spud mount

Dimensions: 22″ x 24″

 

7

 

6. Mole Richardson

Construction Sheet, Tubular Steel, 3 Blade Fan, 15′ power cable

Removable 1-1/8″ yoke pin

Rating 110-240VAC or DC, 3.25 Amps, on-off toggle switch on housing side

6″ Rheostat fan speed control switch

Rectifier with capacitor for AC or DC operation

Dimensions Housing: 26.25″ Diameter x 20″ Long (66.6 x 50.8 cm)
  Weight 88 lbs (40 kg)

 

 

 

 

 

 

 

8

18
Jan
17

Source Four LED Series 2 Daylight HD

To some of us 1992 doesn’t sound all that long ago but then again I studied George Orwell’s 1984 in 1984 so I guess that makes me very nearly antique (I prefer retro I think). But 1992 is now 25 years ago believe it or not, those of us that can remember back that far may recall the debut of the Source Four ellipsoidal spotlight. It took the lighting world by storm offering 1000watt of power from a 575watt fixture and in doing so earned itself the best lighting product of the year award from Lighting Dimensions International. Over the past quarter of a century the Source Four lights have undergone various upgrades and improvements with the introduction of zoom and par options and so on, but we are now seeing a radical re design featuring LED technology and all the benefits that brings to the game.

So that brings me to the light that is happily sat beside my desk at the moment.

The Source Four LED series 2 Daylight HD, ok so not the most catchy of names but at least it tells you what you are getting. So it’s an LED equipped light with a daylight output and a Source Four Style.

2.png

The advantages of LED lights are now all too familiar, dim ability, long life and cool running being the most notable attributes and this light is no exception.

In addition, the Daylight HD version that we carry operates completely flicker free so it’s perfect for those slow motion shots. Power and DMX (in and through) connections are incorporated allowing for daisy chaining of up to 10 units and a multitude of control options including console free master/slave mode.

Nicely not everything from the last 25 years has been changed. The series 2 lights feature the same size, look, optics and beam angles as conventional Source Four lights. This means that they use the same barrel so all existing accessories can be easily retro fitted.

This is a dedicated daylight light not a Bi colour and as such can deliver colour temperatures from 4000-6500K (daylight).

But the best bit, well in my opinion anyway, is that the cool running LED’s allow for some fun and games. A quick Google image search of the Batman symbol, a printer, and a pair of scissors is all you need to summon your very own caped crusader! Well to make a bat signal anyway, I did it about a week ago and am still waiting for his arrival. Seriously though the ability to insert a home made paper “gobo” without causing a fire opens up many possibilities some of which may even be useful.

Source Fours are available in black, silver, or white. Ours comes in black, naturally.

Source-Four-LED.jpg

For the Bat signal alone I would award this light a high Brucie Coolness Rating but the fact that it’s designed with its predecessors in mind thus allowing for the continued use of existing accessories has to be recognized so lets go with a 9 out of 10 BCR from me.

Now if they launch a BI colour version we are talking a solid 10.

 

 

 

10
Jan
17

Litegear LiteTile 8×8 LED

Welcome to the new year everyone, we hope you had a great Christmas and a relaxing break and are now ready and waiting for the next twelve months of fun and games.

Now the new year seems to have brought with it a bit of a cold snap so with your best interests in mind as always we would like tell you about one of our Christmas presents to ourselves, a rather fetching blanket.

Yes we know that blankets tend to encourage you to stay in bed normally but not this one, in fact this one is definitely worth getting up for.

The brand new Litegear LiteTile is something rather special and we had our first play with it yesterday and we’re very impressed. We already have a good range of LED lights from Litegear and they are proving to be popular with you folks but this one is bigger and better than anything we’ve seen so far.

Imagine a flexible blanket of Bi colour LED’s that’s 8 foot square and what that would allow you to do. Now stop daydreaming because it’s here now waiting for you to enjoy.

Untitled.jpeg

I have to admit that personally I’d like to take it home and use it as a blanket on my 12 year olds bed, I cant help thinking that waking her up in the morning would be easier if I could make her whole bed light up at the flick of a switch!

To get a bit technical for a moment the LiteTile 8×8 actually consists of four 2×8 foot panels that can be configured to form a number of shapes, Velcro covered edges allow for each panel to attach to its neighbor or for that matter anything else that has a Velcro fastener on it. Also equipped with eyelets to allow for attachment to grip or butterfly frames as required.

Being made of hi-grade engineered textile the LiteTile is flexible enough to be configured round curves, folded, scrunched up and so on making them a truly versatile product.

As far as light is concerned the LiteTile is equipped with new CineMitter LED’s which boast a CRI and TLCI* rating of 95+ along and a extended colour temperature range of 2600K – 6000K. All new DMX enabled dimmers are supplied giving full local control of dimming and colour temperature or allowing for connection to a control desk.

Everyone will want to know what the maximum output is so for the record the LiteTile gives out a very useable and impressive 20384 lumens (that’s bright to you and me)

When it comes to powering, it’s not much more difficult than plugging in your electric blanket, granted it uses 16 amp leads but we have plenty of jumpers if you need to use a 13amp domestic outlet. Each of the 4 2ft by 8 ft panels has its own power supply so they can be used independently and we will shortly take delivery of a single power supply to run all four units together. A V-lock battery option is muted in the future and no doubt we will get one as soon as it’s available but this may be a while before it hits the market. The individual panels each have a header lead of 7ft or 2.1m in length, giving you plenty of scope to position the supply out of sight.

So if you’re in the market for a large flexible soft light then this could be what you are looking for and now you know who has it you’re really running out of excuses.

Litegear also make a 4 foot version but as you can fold the 8 foot in half and keep using it I don’t think we will rush to get the smaller one, bigger is better anyway.

untitled

The all important BCR (Brucie coolness rating) for this has got to be at least an 11 out of 10, its portable, powerful and versatile all of which are great attributes, but its also very cool and I rather like it. I can’t help but wonder what LED’s will turn up next, anyone got any suggestions?

You could take it to Glastonbury this year just to make finding your tent easier.

Thanks for reading.

 

 

TLCI means “Television Lighting Consistency Index” it’s calculated using a spectroradiometer and is a measurement of a luminaires spectral power distribution in the context of television. The results can be checked against the table below. Hopefully you all feel as enlightened and excited by this as we do.

 

 

85 – 100 errors are so small that a colourist would not consider correcting them
75 – 85 a colourist would probably want to correct the colour performance, but could  easily get an acceptable result
50 – 75 a colourist would certainly want to correct the errors, and could probably  achieve an acceptable result, but it would take significant time to get there
25 – 50 the colour rendering is poor, and a good colourist would be needed to improve  it, but the results would not be to broadcast standard
0 – 25 the colour rendering is bad, and a colourist would struggle for a long time to  improve it, and even then the results may not be acceptable for broadcast

 

 

15
Dec
16

Chroma Q Space Force

Let’s start this blog with a little question,

What has Britain’s Got Talent, The Royal Shakespeare Company, The Welsh National Opera, Kaiser Chiefs, The Killers, Stereophonics, Michael Buble and The Eurovision Song Contest all got in common?

Some of you folks may have guessed it’s something to do with lighting and you would be correct, no prize however as with this being a blog about lighting it wasn’t really hard to work out, was it?

So yes all the above artists have recently used lights by Chroma Q to add some light to their performances

Chroma Q have been producing high quality lights since the mid 1990’s and launched into the LED market in 2004.  They have a good reputation for producing award winning premium LED lights for concerts and theatre productions, retail and leisure, museum installations, exhibitions and so on.

Today I want to draw your attention to the nicely named “Space Force” soft light.

This latest offering from Chroma Q is a rather nice take on the good old space lights but now in LED form.

It only seems like yesterday when the LED lights made their debut on to our photographic world but we are already getting so used to them and the many advantages they offer us in the production side of things. It’s hardly necessary to explain the cool running reliability of LED’s or the 100% dim-ability and full colour temperature adjustability from 2800 – 6500k, so I won’t, but suffice to say the all new Space Force from Chroma Q has all of this.

Space lights are designed to flood large areas with lots of lovely uniform soft light and to do this they often have to be quite powerful and hence tend to run rather hot.  Historically they also require diffusion, usually in the form of a softbox or lantern.  Also as they tend to be pointed straight down heat can be an issue, only some lights are able to do this without “cooking” themselves. Rather nicely the Space Force produces an output of up to 26,700 lumens roughly comparable to a standard 6k fixture and without any form of extra cooling required they won’t cook themselves even if pointed down and with no fan required they run (almost) silently.

Diffusion is built in as with most LED fixtures so you don’t need to add anything else (we do have an egg crate and a lantern available to fit if you need). In normal operation (without the egg crate) it will give you a 60-degree beam angle.

Best of all (well as far as our drivers are concerned) its only 8kg in weight, so it’s easy to handle for its size, our unit comes with a yoke for mounting but also has options available to hang or stack numerous lights together.

pic4

Full onboard controls are on the rear of the unit allowing for complete stand-alone operation and just in case you need it full DMX control is also catered for.

Other nice functions include a “focus” button that causes the unit to revert to a pre-set intensity for when you need to check your focus (ok I had to look this up as focusing a space light seemed a bit of an oxymoron), 2 useful memory functions are available allowing you to “store” the settings on the light for recalling later.

Don’t be fooled by the name Space force or the term Space light, yes this is a space light but its far more use than that and can be put on a stand and used horizontally as a lovely simple soft light. All of our units are fitted with a yoke to allow for this sort of operation.

pic5

So in summary this is a lightweight, cool running, quiet and yet very powerful space light all of which make it an attractive alternative to the regular units. With impressively high CRI figures (up to 97) and a fraction of the energy consumption of the non-LED equivalent light (331w at 230V) it’s sure to be a winner.

The Space Force has already won an award at the Cine Gear Expo Technical Awards coming in first place however, I bet they are hanging on my BCR score, so here it is, 8 out of 10, that’s one point for each side as it’s an octagon, it’s a polygon too but that’s something to do with a missing parrot so I won’t go there.

Oh and we have forty of them ready and waiting for you so don’t look any further than Pixipixel, no matter how big your lighting needs are.

22
Nov
16

KOTM – Matte Boxes

Matte Boxesmattbox

 

Hi, folks, today I want to talk about Matt Boxes and before I get started I must admit that they are something that falls right into a gap in my knowledge. Being a stills kind of guy I am used to using lens hoods to avoid lens flare and apart from using the correct one for the lens there really is nothing much to learn about them, however, as normal the moving image world is somewhat more complicated. Luckily I have an entire department of camera wizards to help me out so I thought it was about time I got myself educated in this important accessory.

 

So firstly a Matte box is used for much the same reason as a lens hood, and that is to stop unwanted light from hitting the front of the lens and causing issues such as lens flare, they differ from photographic lens hoods but essentially do the same job. Matte boxes tend to be more generic than lens hoods that are generally lens specific. This is an advantage as you only need to lug around one matte box for all the lenses on a job as opposed to carrying a different lens hood for each and every lens that may be used (I always seem to forget the lens hoods when I pack my equipment and then need to find room for them which is a pain as they are bulky, fragile and certainly not cheap for a plastic tube.

 

The first thing I notice is that matte boxes are not circular as lens hoods are but are oblong (my mission to revive the word oblong as it’s so much better than a rectangle). This is due to the matte box being a generic hood designed to fit a multitude of lenses as compared to a lens hood that can be manufactured to an exact field of view for the lens in question.

They also tend to have adjustable flaps on the front edge just like a set of barn doors on a light. These are known as French Flags or occasionally French Flaps (I prefer flaps as I think it’s an Australian expression). Now don’t start, French flaps is actually a bookbinding term originally and not rude at all. They allow for more flexibility to block light than the fixed form of a lens hood, this is necessary when the one box is to be used with many different lenses.

 

The other main difference between hoods and boxes is that matte boxes are designed to hold filters. Us stills guys tend to screw our filters directly onto the front of the lens and if we need more than one we stack them together sometimes causing vignetting, Cinematographic filters tend to be larger and square or oblong in shape allowing for multiple amounts to be used without this problem arising, they are inserted into slots or trays in the matte box itself.

 

Now we can separate matte boxes into a couple of types, clip on being ones that attach directly to the front of the lens and others that attach to a rod system. For those uninitiated in the cinematographic world, a rod system is literally two metal rods that attach under the camera and offer support for accessories such as batteries and of course matte boxes. The clip on matte boxes are light in weight and normally have fewer filter slots than the rail system equivalents that are generally larger and heavier. We need to use the rail system with these larger matte boxes due to their weight that lenses are not designed to support.

 

Now remember that rod systems come in two main diameters 15 and 19 mm and needless to say some matte boxes will fit on both but some will only fit on one or the other so this is something we need to check before selecting a particular unit.

 

Another thing to think about is how many filters you are going to need to use at any one time and ensure that the matte box you select has enough slots.

 

Various adaptor rings are available to fit between the front of the lens and the matte box or a flexible fabric alternative can be used, these are known humorously as nun’s knickers! (I could not possibly do a blog about matte boxes and not mention these).

For obvious reasons, the lighter smaller clip on units is recommended for hand-held work and the larger heavier ones for when the camera is on a tripod etc.

 

One thing I have learnt is that most matte boxes come with a set of mattes, these are thin black plates with various sized holes cut into them (letterbox style) and they can be fitted to the matte box to help adapt it to the particular lenses field of view, bigger hole for a wider angle and Visa-versa, this is so simple that I think it’s clever, as a firm believer of the KISS principle that is.

 

So that’s about it I will put a list together of what matte boxes we carry and how many and what size filters they can hold and so on for all our reference.

Clip On 15mm Rods 19mm rods Filter size Number of trays Other
Chrosziel MB 450

 

NO YES NO 4 X 5.46 2
Arri LMB 25

 

YES NO NO 4 X 5.46 2 OR 3 ONLY HAS TOP FLAG
Arri LMB 15

 

YES NO NO 4 X 5.46 2 OR 3
Arri LMB 6

 

YES NO NO 6 X 6 2 OR 3 HAS STEP DOWN FRAME TO PV SIZE

GOOD FOR WIDER LENSES

Arri MB 29

 

YES NO NO 4 X 5.46 2 OR 3 AND 138 MM CIRCULAR
Arri MB 20

 

YES YES YES 5.65 x 5.65 1, 2, OR 3 GOOD FOR WIDER HD LENSES
Arri MB 19

 

YES YES YES 4 X 5.46 2 OR 3 AND 138 MM CIRCULAR
Arri MB 18

 

YES YES YES 4 x 4 , 4 x 5.65 AND 4.5 ROUND 2, 3, or 4

 

AND 138 MM

Arri MB 16

 

NO YES NO 4 X 5.46 3
Arri MMB 2

 

NO YES YES 4 X 5.46 MORE FOR STILLS
Arri SMB 2

 

NO YES YES 4 X 5.46 1, 2, OR 3
Arri SMB 1

 

YES YES YES 4 X 5.46 1, 2, OR 3
VIV 3 stage

 

YES YES YES 4 X 5.46 1, 2, OR 3

AND 138 MM

Missfit Clip on 3 stage

 

Backlight 6

 

YES NO NO 6 X 6 3 GOOD FOR WIDER LENSES
4 x 4 Van Dieman Mosquito

 

4 X 4 1 or 2
Bright Tangerine Atom

 

YES YES 4 X 5.46 2 GOOD FOR MOVI / RONIN, OUR LIGHTEST WEIGHT MATTE BOX

 

Now remember this pearl of wisdom I found online “While nobody will notice that you’ve used a matte box, the important thing is that nobody will notice that you didn’t use one but should have”, wise words indeed.

 

Now Matte boxes don’t really warrant a BCR collectively but I feel that French Flaps and Nuns knickers deserve some score in their own right so let’s rename the BCR from Brucie Coolness Rating to Brilliant Crude or Rude and give them 5 points each making the score a maximum 10.

 

Cheers guys merry shooting BB.

 




Follow Pixipixel on WordPress.com

Pixipixelcamerasandlighting

Pixipixel

0207 739 3626
0888-1900 Monday to Friday

%d bloggers like this: