@@Holtenstein no I think it’s too blatant an IP rip off so I won’t touch it… plus it’s nowhere as well engineered or supported… I prefer to support Christian Berger, Jakob and the team at Light Bridge who spent a decade+ prototyping and refining these tools… I own other godox product but won’t touch these.

@@GaffersSalon Fair enough. I thought Dedo Light came up with this technology first though? I just picked up the 40"x 40" Godox set @ $2200 cause I couldn't beat the price. I really love using the CRLS system.

@@Holtenstein awhile back I asked Jakob to respond to these questions and the history of crls. Dedo did not come up with it, he invented optics to work with crls… “After all the questions on the web about the history of CRLS and Godox I thought if there is a right place to share my thoughts, then it is here with all of you. CRLS has been a long time coming. Cinematographer Christian Berger came up with the idea one day as he was visiting the Lichtlabor (Lightlab) Bartenbach in Tyrol. He was looking for ways to create very natural looking light, keep gear close, but the set as free as possible. He toyed around with different surfaces (at that time with DP Judith Benedikt, she was still an electrician and helping him out in 2001) but the idea and the name was already clear. He was looking for partners to help him make the sheets of aluminum usable on set and tried working with Kflect and later Pani. It didn't work out for multiple reasons and he quit the relationships. Kflect is still on the market, Pani disappeared. When I became his main gaffer in 2010/11 I was confronted with a DP with a very clear vision but very poor tools to survive big productions that had no interest in prototypes and fumbling on set. So I started to make better grip and tools for his reflectors with my crew (Laszlo, co-founder, now works full time in Lightbridge as a technical designer and Manuel is still on set, you can find him on social media under the name Lightlink). I must admit, I also got obsessed with the quality of light, the intuitive ways to use aluminum reflectors - and I always had built my own fixtures and grip for shows, so the concept of building something unique for jobs was not new to me. But it was clear - if we wanted to share my DP's vision with the world, there was a lot of work to do. Christian at this point was so fed up with the manufacturers he had found he wanted to quit CRLS altogether. I took it as my gaffer's promise to keep his vision alive. Lightbridge was born and I made sure that should we ever make any money, my DP would get his share. I take pride in that I don't see our CRLS Precision Reflectors as just a new product - but as an intuitive tool that we had optimized over years on set before sharing it with my colleagues. The product is not the Precision Reflector - it is the light it produces. But as much as I knew about lighting and manufacturing I had no clue about sales and distribution! Dedo, (was) an old friend of Christians and we met and really liked each other. Dedo told me he would help with sales. You live and learn! Didn't take a year before I got the email where he told me that he was doing his own version and I should go back to being a gaffer. (I had taken out a mortgage on my house, quit my apartment in the city and was sleeping on the couch in the small office to make ends meet at the time!) I thought I was dead in the water until I noticed more and more people were purchasing our gear in cities that Dedo was touring! That was a big learning experience: You can copy us - but that doesn't mean you understand why we were doing things a certain way. You just can't copy 15 years of testing on set - it shows in every detail. And it's exactly that knowledge and drive to innovate that sets us so apart from Dedo and Godox. Yes - there are of course IP and patent infringements with Godox and we are following up on this. Kfelct specialized on indoor effect reflectors - that’s great, as is Dedos Eflect. But we believe in fast intuitive, high quality Key-light tools for professionals. It needs to work from tabletop to mounting on cranes. Because it all comes down to creating moods with light, upholding the artistry and craft of lighting - putting visionary people in the limelight - supporting our teams, customers and productions. It all boils down to: supporting, innovating and sharing. Just what a good gaffer does - no matter the job, no matter the weather. That's Lightbridge - bridging art and technology - so we can continue to push the boundaries of light to tell your stories with light together. I hope this gives some personal, first hand insight and if you have any thoughts - do share! We love hearing from you. All the Best and have a great shooting day! Jakob”

They've stated (if I'm not mistaken) that the storm-series fixtures are more modular in design and will allow for streamlined servicing from Aputure. Time will tell.

@@atriux7 Thank you sir.

Aye I recognize you from the Inflatable light video

aye, from the Light Bank video earlier today!

yeah the nova's were generally , much easier to repair, some of the issues in the 1200X and others were much of the internal components were sealed in a resin to maintain IP rating which had the unintended effect of making them very difficult - if not impossible - to replace any specific failed part... the newer lights are much more modular and easy to repair, from what i've been told.

@@GaffersSalon Thanks John, I didn't realize that. Good to know. Hey, do you know when Andrew will be doing his super detailed review on this light?

@@Cinegavo Just subscribed to you.

@@gregkubitschek6575 thanks, appreciated.

I'll ask Tim, but my feeling here is here is referring generally to CIE Daylight, generally speaking to what we refer to as daylight say 5600K (vs when we say tungsten @ 3200K) so looking spectrally at say mid day sun in various parts of the world, we are somewhere around 5000-6000K with a touch of plus green. Sure extreme times of day or certain atmospheric conditions can shift these readings, but under similar mid day sun, in similar weather conditions etc, i think this holds true. @Aputure-Tim_S_Kang

agreed.

So this new Blair -1200x is not going to match perfect with the recent aputure 600cii that is coming out ? Do you think They are going to come out with a new Blair engine 600c type light since they are going a whole new color spectrum?

@@creativegreatsvisuals the 600c is full color… vs bicolor but I think it will match close enough at 2500-10,000k both will have g/m for fine tuning - the spectrum at 5600k will be a tad better on the storm I suspect but I doubt it will prove an issue on set 99% of the time

I have them on my evokes and they don’t melt, but I’m going to change placement on these… wasn’t thinking 😂 on the evoke near front of reflector not near Bowen mount side

@Aputure-Tim_S_Kang?

There aren't plans to compete with the 600Cmk2.

Is your masterclass deck preso posted or soon to be available? Looking to deep dive! Great chat BTW.

@@natecarrollfilms not anywhere, but if john wants, i can put it on GS. It was what I presented at BIRTV. Thanks for sitting through my tired drawl!

@@Aputure-Tim_S_KangRandomly tuned in for a product review and ended up glued for an hour to the presentation on UV/Missing End of the Spectrum! At some point, you mention being unsure about how to market these but, honestly, a condensed 2-min version of your talk should be it.

I always find your talks incredibly fascinating Tim! Can you tell me what the consequence of having two blue spikes or blue and indigo spikes is as it relates to what the observer or in our case the camera sees? Put another way, do spikes in the light spectrum emitted impact the way that we or the camera interpret the color of an object?

So, if we’re using bicolor LED lights, what is going to be the difference between setting the camera and lights to 3200K or setting the camera and lights to 5600K? When we were using tungstens, apart form the quality of light, was there a difference between using tungstens and setting our camera’s to 3200K or using daylight and setting the camera to 5600K?

@@12yfilms I would assume not, but will have to ask Aputure… my guess is they will work but maybe not as optically aligned or efficient ?

[Aputure] The existing 1200d reflectors on this 1200x will result in color fringing on the edges of the beam. I would recommend against trying to use the 1200d reflectors and instead strongly suggest getting the 1200x reflectors designed to be used with this light.

@@shadowshapers Sounds great thank you!

@@GaffersSalon Will do! Thank you again!

The 1200d reflectors are not optimized for the 1200x.

I don't know what a FlexKit is.... but with any soft light it's all about size and proximity to talent, shape of source and of course the look you're after....

lots of places... The Rag Place, Brooklynsoftlight.com, etc - If you are using the Lite Gear brand you can buy the poly skirt and standard diff 1/4, 1/2 and full from Lite Gear... then all you need is the velcro to attach to F21/22

I can only speak to all of mine… I’ve had no issues - battery life still good on all of them (just got the Kelvin so too soon to know on those)

but great vid haha

@@Cinegavo pretty sure those are fancy jeans

@@Dan-fi8xt Justin said “It was a mars vive camtrack”

no question, and Martin mentions the 1st gen prototype was in a scoop shape, even more like a zip. I think the significant difference here is the hard light option & with the multiple possibilities on the inlay surface in combo with front diff etc.