Why You Need Powerful Lights for Filmmaking - Feat. Nanlux Evoke 1200B

[@RobEllisCinematographer]

Watch the micro film - kzbin.info/www/bejne/fqW4cod5qKehrsU Get 10% off your purchase of Dehancer using ROBELLIS at checkout - www.dehancer.com/ www.robelliscinematography.com/downloads - download the full 46 minute Lighting with Colour mini course ad-free, with all 5 individual parts for just £15 - including an exclusive Part 3! www.patreon.com/robelliscinematography - support me on Patreon for extended, ad-free KZbin videos and informal breakdowns of my work - including the entire Lighting with Colour mini course available to stream now!

[@ImaginationFolder]

Every time you post one of these videos, I get inspired to bust out my big boy light and go to town making stuff like this. Bless your face, Rob.

[@RobEllisCinematographer]

That's awesome and makes me happy to hear my videos are inspiring you in that way! Thank you so much! :)

[@ArchieRowe]

Yeah man you said it best, "Bless his face indeed!" I work with an Arri Sun 12 HMI (old school workhorse) and you've got me totally inspired to BTS my next project. I just hope it comes out half as good as this one. Thanks Rob

[@NanliteGlobal]

🥰Thanks for sharing Rob!!❤

[@RobEllisCinematographer]

Of course! ❤️

[@matthewhartman7176]

I have said it several times before, and I will state it again; one of the best filmmaking channels on KZbin hands down. You are starting to get a little more sponser-y in your delivery, but you still navigate it with unrelenting individual style, knowledge sharing, and conversational exploration, making the sponsored bits far less suffereable for the curious viewer. You sir have a firm understanding of your audience for this channel and it shows. Kudos.

[@sebastianungureanu]

This has been hands-down the most informative behind-the-scene video regarding lighting on set. Well done sir, you've gained a subscriber today!

[@RobEllisCinematographer]

Thank you so much Sebastian, happy you found it so informative! I appreciate it! :)

[@Direct19681]

I’ve said it before and I’ll always say it Rob, your lighting tutorials are by far the best on the internet brother!!

[@RobEllisCinematographer]

Wow thanks David! Super happy you like them so much! I appreciate it :)

[@Direct19681]

@@RobEllisCinematographer you’re welcome brother

[@riskybiscutz]

More wisdom from the GOAT! Would love to see you do another tutorial for DIY or very inexpensive gear like your homemade bounce w/skirt.

[@RobEllisCinematographer]

Hope you enjoyed it!! I replied to your other comment about this earlier haha! But yes - I will do a super low budget work light/light bulb video at some point soon! ;)

[@riskybiscutz]

@@RobEllisCinematographer thank you so much. Shane hurlbut has a video recreating an established lightning setup with hardware store alternatives, but he lacks your ability to make the information as digestible. Thanks again!

[@RobEllisCinematographer]

@@riskybiscutz wow thank you! I'm happy I'm providing a little more value to you than the big guns!

[@GalZiv]

Your tutorials are much BETTER than any other Hollywood DP or filmmaker on KZbin when it comes to explaining lighting. It's amazing how you are able to convey the basics and more in such an understandable manner. Thank you!

[@charlesbeaudelair8331]

That's what I call a masterclass. Really good. Thank you.

[@RobEllisCinematographer]

Thank you so much Charles! Happy to hear you got something out of it!

[@6-Iron]

Much thanks. You just helped me make a business case for a lighting upgrade. The execs that I shoot LOVE to use their office view as a background. The shots always end up looking flat because the lighting we have is woefully inadequate.

[@RobEllisCinematographer]

Happy to hear it - you'll have plenty of power to balance with the ambient!

[@random_realities]

Another beautiful and informative video! Super pumped to see what you have in-store for us in 2023! keep up the awesome work! 👍

[@RobEllisCinematographer]

Thank you so much, happy you enjoyed it!! I'll do my best! :)

[@John-e4p1x]

Wow dude has upped his game and he was already at the top.

[@RobEllisCinematographer]

I think there's plenty of people better than me haha! But I try not to compare myself to others as we all know that can be a slippery slope! Thank you so much John!

[@John-e4p1x]

@@RobEllisCinematographer Hope they GAVE you this light cuz you sold it well in this video jesus man!

[@RobEllisCinematographer]

@@John-e4p1x haha they did indeed! Thanks John I appreciate it!!

[@gloglebag]

The the best and most informative commercial I have ever seen. I am going to buy the Nanlux Evoke 1200B now. I need it.

[@RobEllisCinematographer]

Glad you liked it so much!! I try and make these more about the educational element than the product itself, but if it's sold you on the light then that's a bonus! Thank you so much! :)

[@offscre13n]

VERY very good content. Clear, easy to understand i like that

[@RobEllisCinematographer]

Thank you so much Michael, happy to hear it!!

[@flipnap2112]

good stuff. I remember seeing them do this on "twister" for some of the storm scenes, to get the darker skies. one of the actors was saying he was surprised he didnt get sunburn from the lighting ha ha.. Man this is the stuff I love. going past 3 point lighting and matching color temps, etc. So many things we can do with lighting to really create a profound impact on the cinematography.. thanks for the vid

[@RobEllisCinematographer]

Haha that's awesome, I didn't know this! It's been years since I've seen it, might have to go back and see if it can spot any of it! Absolutely, light is wonderful tool and there's so much we can do with it at all levels when making images. Thank you!! :)

[@EdProsser]

Thank you for another fantastic lighting video! I've learnt so much from your channel

[@RobEllisCinematographer]

Thank you for watching Ed! And I'm very happy to hear that! :)

[@eliaslimapro]

This is my favorite channel to learn more and more about Cinematic lighting, I've watched all the videos and I love every new video, I look forward to more beautiful videos like this one. Greetings from Brazil.

[@RobEllisCinematographer]

Thank you so much Elias, happy you're enjoying my videos so much! Greetings from the UK!

[@NanluxGlobal]

Thanks Rob! 🙌

[@RobEllisCinematographer]

Thank you!! :)

[@ina00203]

Thank you so much for sharing your knowledge. Every content you post is very informative. Your old videos before these lighting beasts like 1200watts LEDs were also equally good. You were able to create the cinematic mood using basic lighting equipment like working lamps, small bulbs, and gels. I have Learnt many things from you brother, Lots of love and appreciation from India for your work.

[@RobEllisCinematographer]

Thank you so much Yathish! Happy to hear you're gaining knowledge from both spectrums of video. I'll be making some more stripped down lighting setup videos in 2023 :) love from the UK!

[@haddonhousefilms]

Another great lighting video. Thank you!!!

[@RobEllisCinematographer]

Thank you so much! :)

[@paguasonfa]

Amazing video! I learned a lot just in the first 2 minutes!! Thanks!

[@RobEllisCinematographer]

Great to hear it! :) Thank you so much!

[@Hail_Sagan]

I really love your channel man. Awesome stuff, thank you!

[@RobEllisCinematographer]

Thank you so much, happy to hear it! :)

[@rudytorres6559]

Great Job! Lots of useful information. Thank You!

[@HilleCine]

Amazing teacher thanks Rob

[@RobEllisCinematographer]

Thank you so much, hope you enjoyed the video! :)

[@andrewmizzi4097]

Loved this Rob, just stumbled across your videos. They're fantastically broken down. 😀

[@RobEllisCinematographer]

Thanks so much Andrew! Glad you're enjoying the other videos too :)

[@zaiddagamseh]

Incredible video as always Rob. Your channel is teaching me so much thank you! I have a question: at 10:04 you chose to change the color temperature in your camera to add warmth to the scene. What makes you decide to do that vs. changing the color temp of the light?

[@evocati6523]

I'm not Rob, but changing the temp of the lights would have left the sky and ambient light looking very blue, so matching the ambient gave all light sources a cohesive look

[@DreySantesson]

Absolutely stunning explanation. Setting the WB correctly is my biggest struggle

[@RobEllisCinematographer]

Thank you so much! Hope it was clear enough in this video!

[@YoungBlaze]

as powerful as that light is, my question is, how hot does it get, with a softbox on that thing, it has to get extremely hot almost burning that softbox if it was anywhere near 90pecent?

[@RobEllisCinematographer]

The fixture itself can get pretty warm (the fresnel and reflectors definitely get hot) but there are vents and a fan system to keep it regulated - and it has it's own mounting system which is bigger more robust than a standard bowens mount with it's own set of softboxes, so it's all designed to handle weight + heat!

[@YoungBlaze]

@@RobEllisCinematographer I bought a godox knowled 600b because of your channel and another person's channel, I had a godox 60 but you are a true artist and painter of light! Keep it up

[@SereneBobcat]

Always great work Rob.

[@RobEllisCinematographer]

Thank you Miles - always appreciated! :)

[@nyceflix]

you had me sold at, "weather resistant"

[@RobEllisCinematographer]

It's extremely useful this time of year in the UK!

[@f0t0b0y]

Brilliant stuff. Thank you and your team for the work on all lighting scenarios. 🙌🏼🤘🏼

[@RobEllisCinematographer]

Thank you so much!

[@cartmanbra992]

I see you're answering comments so I've got a question. While watching I was wodering why you wouldn't light your subject at 4:18 from the right side? I believe it would look much more natural as to my eyes, the hard contrast between his face and the sun flare make it look somewhat unrealistic. I'd love to have seen the same shot with the key light on the right just for comparison. And obviously this could also just be a stylistic choice which would be totally fine. It just goes against the idea of motivated lighting in my opinion. Also I really liked the video and your calm presentation so far and even though it's not in my budget, don't be discouraged from comments arguing that this thing is too expensive or whatever.

[@RobEllisCinematographer]

Absolutely, you're right, and I did want it to look a little more stylistic, to seperate the hard light and soft light more, so it was easier to "read" what both lights were doing. I think you can still get away with calling it motivated - since you can't see the surrounding environment in great detail and the sun is so far away it could be bouncing from something like a wall very close to the car on the left. The thing which might throw that theory off a bit is the dash board is much closer to his face than any wall would be, and we can clearly see the sun hitting it - so that's the thing that should be bouncing light back into his face on the right side, like you said! So it is loosely motivated but not necessarily by something on screen and not necessarily in a very satisfying way haha. I think it's okay to break the rules sometimes to tell the story better and I shot this with explaining the power of the 1200B in mind, so I didn't want to "merge" it with the 720B if that makes sense. Judging by the feedback I hope most who watch this are still getting something out of it even if the tool in particular is a little pricey! Thank you so much for the kind words! :)

[@NanlinkGlobal]

Wow so great! That's amazing!

[@RobEllisCinematographer]

Thank you so much, having a great light helped! :)

[@filmreif3941]

Excellent video. Thank you!

[@RobEllisCinematographer]

Glad you enjoyed it! Thank you so much!! :)

[@meslills]

This is so good so informative and explained really well, thank u!!!

[@RobEllisCinematographer]

Thank you so much!!

[@scottievee330]

This knowledge is Gold. Thank you. Even if I never put it to use... it's good to know.

[@RobEllisCinematographer]

Thank you so much! :) It's always interesting to learn about something you then might be able to pick up on in other situations - so I'm happy I've been able to provide that for you!

[@scottievee330]

@@RobEllisCinematographer Yes, even if not in full scope, some nuance tricks here are great.

[@RobEllisCinematographer]

@@scottievee330 absolutely, you can always translate techniques from a tool you may not have to one you do have - or borrow ideas from one practise to another!

[@thetruthseeker23]

Great breakdown. Thanks Rob.

[@RobEllisCinematographer]

Thanks Deane! Glad you enjoyed it!

[@emmanuelpena6991]

This is awesome, but i have a question at minute 0:49 what camera, lens and setting are you using from gear? this is important, not only the light.

[@RobEllisCinematographer]

Cameras and lenses used are in the video description! :)

[@filmmakerseven5504]

This is too Amazing!!!

[@RobEllisCinematographer]

Thank you so much! I hope it was helpful in some way! :)

[@DavidGriffin]

You just made the case for 1200 watt bi-color waterproof LEDs... Nanlite should send you a check.

[@RobEllisCinematographer]

Thank you David! :)

[@thomclhn4591]

equally informative and beautiful to watch. Well done, first time seeing your videos, liked and subscribed. Thank you! Quick question: at 5:56, the flat panel for bouncing the light, did you custom make that, or is there a reference for where I can purchase something similar / a name for it so I can search? Thanks so much!

[@RobEllisCinematographer]

Thanks so much Thom! That's a Matthews 6 x 6' frame - www.bhphotovideo.com/c/product/32972-REG/Matthews_B309071_Butterfly_Overhead_Snap_A_Part_Light_Duty.html - and Matthews 6 x 6' bleached muslin rag - www.bhphotovideo.com/c/product/99314-REG/Matthews_309618_6x6_Overhead_Fabric.html (attached via c-stand grip heads). Hope that helps! :)

[@thomclhn4591]

@@RobEllisCinematographer Thank you!!

[@Sgyozo]

Well, it's comparable to the HMI's, as Nanlux claims, but not there... Especially not the 2.5k. And, for the bicolor, the full output is at around 4200K, if i'm not mistaken, it's basically 600W tungsten and 600W daylight LED's that you can adjust. If you need a lot of 5600K better off buying a daylight LED or use an HMI. Good to see LED technology improving, but manufacturers should not bullshit, and post correct measurements for the fixtures in lumens, and if in lux, state the distance/beam angle, etc.

[@BanderaFilmsAndMusic]

You're a damn genius, brother. Holly shit

[@RobEllisCinematographer]

Not at all, anyone can learn and do this stuff! But I appreciate the sentiment, thank you so much! :)

[@arthurlorenzocolombini9956]

Always a pleasure spending time with your videos Rob / wow pretty nice cannon this Nanlux Evoke / I worked last month with an Aputure LS1200D, great power, but this bicolor option with the nanlite makes it a winner ... pity it's still impossible to rent it around Berlin though

[@RobEllisCinematographer]

Thank you so much Arthur, I really appreciate it :) It's definitely a massive bonus being able to change color temperature so easily at this power output! That's a shame, hopefully it becomes more available for you soon!

[@AlexanderOspanov]

Amazing as usual!!

[@RobEllisCinematographer]

Thank you!! ☺

[@psybirdstudio]

I am curious, at 6:08 was it set to 100% output? I wonder how the Forza 500 would compare in this scenario?

[@RobEllisCinematographer]

100% yes - the Forza 500 is great but wouldn't be able to compete against/overpower the ambient in the same way when bounced!

[@DavidGriffin]

Could you do this with a 300 watt led? Of course with a smaller area perhaps. Like a daytime doorway scene

[@RobEllisCinematographer]

Yes, depending on what you're shooting! These could all have been shot with a lower powered light if we shot closer to/in the evening (or created our own ambient/fill - which would have been difficult in the situations shown in the video, apart from maybe the kitchen scene). But that also presents the problem of having a small window of time to get the shots done and less of an ability to have the power to light a larger area. So it all needs to be weighed up - having more power gives you a ton more flexibility without having to compromise in other areas, which means it's easier to get the shot exactly how you want it!

[@DavidGriffin]

@@RobEllisCinematographer as always, your the man. Because of you... Yes you... I bought the GODOX M600D. At $999 with case, reflector and free octobox... It's hard to pass up. I went and grabbed the frensel and barndoors with it. All this for my film work that's about to go up up up up. Hey man... Keep at it. I bought your lighting with color video and it's an amazing piece of solid info. I get white balance now... And why I wanna deviate from 5600k . Lol. Thanks. I wish I could've afforded the 1200bi ... But that's not happening yet. Carry on good sir!

[@RobEllisCinematographer]

@@DavidGriffin thank you so much David! Always happy to hear my videos have helped with lighting decisions and I hope you get on/are getting on with the light! And I appreciate your support with the lighting with color video, glad that's helped also! I'm sure companies will start producing 2000 watt LEDs in the near future so lets hope the price will come down on the others! I will do :)

[@DavidGriffin]

@@RobEllisCinematographer aye man... You could probably help the entire industry out by, buying (and returning) or renting a CRLS kit just to tell how useful they are - yet how unaffordable they are. Maybe some company will be inspired to make a low cost mirror reflector/diffusion system competitor. You got the reach and the industry's ears sir. Trust me... that CRLS system would be in everybodies kit if they made the price reasonable or had competitors out there going after their their market. I mean, that could revolutionize daylight filming for a lot of low budget filmakers. But hey... I'm still super satisfied with the great work your doing... You don't take orders from me and you probably got enough on your plate. So f it... Just carry on and keep being great!

[@TravisTravels]

Love your work!

[@RobEllisCinematographer]

Happy to hear it Travis, thank you!!

[@appetitelife]

Great stuff mate!!

[@RobEllisCinematographer]

Thank you mate! And thanks for sitting in the rain for it! ;) I reckon they'll make you the next Batman

[@manucamarixta]

So inspiring. Thank you ❤️

[@RobEllisCinematographer]

Amazing to hear that - thank you so much! ❤

[@baldureinarsson9753]

Sweeeet, good tips as always❤

[@RobEllisCinematographer]

Thank you so much, happy you enjoyed them! And as always, I appreciate the kind words! ❤️

[@jamesoconnell2972]

Great video! Just wondering how you powered the light in the exterior forest scene?

[@RobEllisCinematographer]

Apologies for my slow reply! It was powered by a Bluetti battery - www.amazon.co.uk/BLUETTI-AC300-B300-Expansion-Emergency/dp/B09Y5GDS9K/ref=sr_1_5?crid=8W56Z7B7609X&keywords=bluetti+b300&qid=1671564197&sprefix=bluetti+b300%2Caps%2C71&sr=8-5 - it's a pretty pricey tool but I decided to go for the long term investment, as you can expand the power with extra batteries. The alternative would be to rent a generator, which is much cheaper, but also louder! Thanks James! :)

[@jamesoconnell8338]

@@RobEllisCinematographer no worries and thank you that is really good to know!

[@AllThingsFilm1]

Another excellent tutorial walkthrough. I had an argument with a photographer friend yesterday. He insisted that ND filters were meant for where you were opening the aperture more. Not as a means of controlling the image as I suggested. He also didn't understand how my Sony FX30 had a base ISO 800. He said it didn't make sense. I told him the ISO 800 is meant for shooting in Log to maintain high dynamic range and the cleanest image. He still insisted I was wrong. Can you think of a way I can explain ISO to him from a filmmaker's perspective that might make more sense to him?

[@RobEllisCinematographer]

Thank you so much! I don't think I'd be too great at trying to explain why a base ISO is a base ISO, because I don't know the specifics and details of why and how that particular ISO rating is chosen or why it needs to be that number. Your best bet is just to just show him the info from Sony itself - they have a bunch documentation on their cameras including base ISO ratings and dual base ISOs! You can't really refute the information coming from the company who made the camera haha!

[@factor3208]

I observe the kelvin numbers are warmer when lower, and cooler when higher. or i'm I getting something wrong, coming from an Aparture background

[@RobEllisCinematographer]

kzbin.info/www/bejne/d525iHaVpt6WjNk this may help! - also check the pinned comment :)

[@NepticFathers]

You got a light so powerful your actors need a welding goggles so they don't burn out their corneas 😆

[@Bo_Hazem]

Impressive, man. I hope one day you feature in big budget movies. Soon my documentary should be ready, I'll share it with you by then! Warm regards.👏

[@RobEllisCinematographer]

Thanks Bo! Awesome, I'm looking forward to seeing it! And I hope you're doing well! :)

[@peopleschoice9555]

Bro...what camera, lens and setting are you using to get these out of this worlds cinematic shots brother????

[@kingmuhu]

Wonderful stuff. I wonder, if you dont have the budget for such a light. But you do have an fx30 which can shoot at higher iso, does that bring in about the same equivalent of light?

[@RobEllisCinematographer]

Thank you! :) you can definitely get more out of lower powered lights, but the issue with a lot of setups is the balance between ambient and the light itself - if the light and fresnel was too dim to expose on the face in the side on walking shot for example, if you bring up your ISO you're also bringing up the sky at the same time, so you're not changing anything about the lighting ratios in the shot!

[@aaronthecameraguy]

Great video Rob, any reason you don't buy Aperture products?

[@RobEllisCinematographer]

Most of these lights are sent to me by the lighting companies and I have a good relationship with Nanlite - I worked with Aputure just the one time - it might be because I took a while to get their video done 🙈 haha

[@aaronthecameraguy]

@@RobEllisCinematographer Pretty great reason! I like the alternative take, I dont see a ton of nanlight vids.

[@RobEllisCinematographer]

@@aaronthecameraguy they're great and I'm very thankful that they trust me to demonstrate their fixtures!

[@John-e4p1x]

Have you done a video where you talk about only having a 5600k light? I know you can still do a lot by changing cameras color temp but Im sure there are a ton of trick you know..

[@RobEllisCinematographer]

The first 2 "Why You Need Powerful Lights" videos were with daylight lights, and most of my older videos (the "Making the Most out of a Single Light" 2 parter and earlier) mostly use daylight balanced lighting! :)

[@AlbertoTrianaDirectorDP]

Another wonderful video! Love the content and keep it up! I'd love a chance to play with a 1200B or even the 720B, that would open up a lot of set ups for my films, but in the meantime, use the tools available and get it done! Bravo sir!

[@RobEllisCinematographer]

Thank you so much! That's exactly it - you can take tips and ideas and inspiration from tools you might not be able to use yet, and apply it to what you do have. And if anything, it's better to do that before you start working with the pricier, bigger lights - as you'll know exactly how to use them!

[@obarovft314]

stating the WB would also be helpful

[@adrianwongmedia]

Awesome video. Was the output at 100%?

[@RobEllisCinematographer]

For all the shots except the street light one!

[@playaofficial]

Hi Rob, few days ago I bought Dehancer and used your discount code!! Thanks for that!! Can you please tell us what was colour temperature set in your camera/colour grade? And thanks for a great video again!!

[@RobEllisCinematographer]

Thank you so much, I really appreciate you using my code! :) Hope you're enjoying Dehancer, it's a great bit of software! First scene of me on the couch was around 3400K to make sure the sky looked nice and cool. Second bench scene was about 4200K to get the balance between cool sky and warm streetlight. Sunset car scene was 5100K to keep the sunlight warm and pick up some cooler ambient. Sleeping guy in chair was 5600K to keep things looking neutral-coolish. Walking woods path and wide was 5000K to balance warm sun and cool sky. And the final shot was 7600K to warm up the ambient and "sun" evenly to make for an overall warmth like explained in the video. Luckily I literally have the project open right now so I could easily tell you this haha! Hope that helps!

[@ohhimark8028]

how do you set up a light on a public area without getting complaints?

[@RobEllisCinematographer]

I live in a small-ish town and time things when it's not busy - people are more interested about the lights than annoyed haha!

[@charligebeyaw7915]

Tnx but how you power the light in filed or outside ?

[@RobEllisCinematographer]

A generator (cheaper, noisier) or a battery system (pricier, quiet)!

[@dougfranckwolf]

Fantastic vid. What intensity is the nanlux light at for each scene? Is it al 100% for all of them?

[@RobEllisCinematographer]

Thanks Doug! It is 100% for every scene except the streetlight one - I think I may have mistakenly said it was at max output in the vid, but it was a little below that as I wanted to retain more detail in the shadows. I wanted to take advantage of it's full power to demonstrate the maximum output you can get, but it does step up and down it's power output in 0.1% increments so you can easily use it at varied outputs for other scenarios :)

[@dougfranckwolf]

@@RobEllisCinematographer Amazing, really. I haven't seen a technique like this before, using NDs indoors to make a very convincing day for night. I have a shoot coming up that I will definitely try this on.

[@RobEllisCinematographer]

@@dougfranckwolf it's an easy alternative to ND gelling windows if you have the power output to work with, but again, at full power, the fan will be loud so audio is a consideration! I thought it was a great way to visually demonstrate the power output though :)

[@theseventh2609]

Thanks man

[@RobEllisCinematographer]

Thank you!!

[@ThiloErward]

The Nanlux does not at all have the power of an M18 or an D25. That's a big marketing scam. I work with all of them and you can not compare the fixtures with each other.

[@davadh]

Rob, what muslin fabric do you use for bouncing lights? Any recommendation?

[@RobEllisCinematographer]

For the more DIY, hung from a boom option I use a bleached muslin backdrop, the one in the first setup is specifically from lencarta.com but it seems they're sold out right now. But you can get these from many places!

[@davadh]

@@RobEllisCinematographer Thanks you!

[@nickmcmillian2122]

can a 500 watt light be enough for outdoor shots? My budget is $1,000 for lighting

[@JoATTech]

I wonder how powerful was practical in the first scene :D

[@AdamLProductions]

Surprised Nanlite doesn't sponsor you for such a great video.

[@RobEllisCinematographer]

They did - they sent me the light :)

[@AdamLProductions]

@@RobEllisCinematographer Nice! I already have the Forza 500 and Forza 150. I plan on getting the 1200B sometime soon to round everything out.

[@isaiahgalante]

Click like if you want Rob Ellis to make a short film!

[@RobEllisCinematographer]

I clicked like 😎

[@Sjdaviesfilm]

how did you power the 1200b outdoors? ive just bought a arri 2k open face and need a power solution

[@RobEllisCinematographer]

It was powered by a Bluetti battery - www.amazon.co.uk/BLUETTI-AC300-B300-Expansion-Emergency/dp/B09Y5GDS9K/ref=sr_1_5?crid=8W56Z7B7609X&keywords=bluetti+b300&qid=1671564197&sprefix=bluetti+b300%2Caps%2C71&sr=8-5 - it's a pretty pricey system but I decided to make it a long term investment as there's also the option to expand the power with extra batteries. If I didn't use that I would've just bought or rented a generator, but obviously they're a bit noisier!

[@Sjdaviesfilm]

@@RobEllisCinematographer Thats great! I was looking at ecoflows too. So at 3000w it would power the 1200b for a few hours?

[@RobEllisCinematographer]

@@Sjdaviesfilm yeah that's roughly the time you'd get at full power with the 1200B, I haven't tested the run times properly yet, but we had it on full power for about an hour and a half on the battery and I think there was about 30% left!

[@Sjdaviesfilm]

@@RobEllisCinematographer Legend thank you!

[@RobEllisCinematographer]

@@Sjdaviesfilm no worries! :)

[@Nujola]

I own a 1200 how much does the fresnel increase the output?

[@RobEllisCinematographer]

Check out the specs from the bottom of Nanlux's product page - www.nanlux.com/en/h-col-253.html (this is for the 1200B)

[@dreamvision_media]

You should walk us thru your dechancer flow

[@RobEllisCinematographer]

I basically just use it how I demonstrated in my original Dehancer video, but every project is different and they have introduced some new features now which are great!

[@brtfilms]

Just curious what generator you used to power the 1200B for the sunset shots. Looks amazing as always, possibly my favorite lighting channel on KZbin

[@RobEllisCinematographer]

It was powered by a Bluetti battery - www.amazon.co.uk/BLUETTI-AC300-B300-Expansion-Emergency/dp/B09Y5GDS9K/ref=sr_1_5?crid=8W56Z7B7609X&keywords=bluetti+b300&qid=1671564197&sprefix=bluetti+b300%2Caps%2C71&sr=8-5 - a pretty pricey system but I decided it was a long term investment as you can also expand the power with extra batteries. Otherwise I would've just rented a generator! Thank you so much Brett, I really appreciate it! :)

[@brtfilms]

@@RobEllisCinematographer Awesome! I’m gonna look into this. And absolutely, keep up the great work!

[@Aviciiz]

Excellent video as always, always learning something new. 4:33 why didn't you use a grid on the keylight ?

[@RobEllisCinematographer]

Thank you so much and I'm happy to hear it! I didn't feel like it needed any more control, it looked good to my eye :)

[@Aviciiz]

@@RobEllisCinematographer Cool! I'm not always sure when to use a grid or not. When I want to light up more of the room and want to make it feel as natural as possible I keep it off, and when I'm just want to light my subject I keep it on. But I'm not sure if that's the correct way, any ideas?

[@gamedesign1]

Great overview of the light and it’s potential 👍 I would love to get one that powerful one day when I can justify the cost 😊But first I wanna get a bi colour as good as I can for around £300-400. I’m thinking the Godox UL150 might be a good choice. What do you thin?

[@RobEllisCinematographer]

Thank you Chris! There's a good few options for bi-color now in that price range from Nanlite, Godox and Aputure so it's hard to go wrong - do a little research into connectivity and lux output of the lights in that range and you'll be able to make a choice that works for you. I find bluetooth connectivity is actually pretty invaluable when it comes to lighting, low or high budget, as most people have a phone and you don't have to worry about losing a remote!

[@housepandacrew581]

I have used the Amaran 200x and have two Godox SZ200bi myself. Both are great affordable options for around 400 dollars and have just a little more output than a 150 watt light ☺️

[@EYECRAFTVideo]

Hey Rob I joined your patreon page, would love to see a video of how you use the Illuminati Meter App for exposure & colour balance. Love the vids, keep it up, your a champion.

[@RobEllisCinematographer]

Thank you so much for your support! There are 2 videos currently up on Patreon that show this, in Part 3 of Lighting with Color (which is in the full 46 minute mini course) and the Contrast Ratios video - but not yet a dedicated video, as I find the Illuminati can be off by a stop in it's exposure readings! Which still works for ratios as you can expose with false color - but I wouldn't want to make a video dedicated to a meter that has that issue if that makes sense. A good light meter/color meter is on my list and a video on metering is also on my list - but hopefully those 2 videos I mentioned on my Patreon will help in the meantime!

[@EYECRAFTVideo]

@@RobEllisCinematographer Thanks Rob, is there a one unit meter that does exposure & color very well?

[@Wanderingforever976]

Curious what ir cut filter you use or not needed with the pocket 6k?

[@RobEllisCinematographer]

I use the Hoya UV/IR cut, I think there's only one strength - I find the Pocket 6K Pro, even with it's IR ND filters still needs it - it's not hugely noticeable IR pollution but it's still there a little without the IR cut.

[@zerosk8r707]

love you dog

[@GethinColes]

Nd the windows baby, avoid you talent having pinprick pupils:) but yeah having a big ol' light or 5 is always fab

[@RobEllisCinematographer]

Haha yup that is a cheaper option also, it was more a visual demo of the output, like I mentioned in the video you definitely wouldn't be recording audio in that scenario if you needed to!

[@GethinColes]

@@RobEllisCinematographer I missed you saying that! 10k hmi's were the biggest I used a long time ago. I'd love a beefy led to play with occasionally

[@sondp]

how much percentage was the light in the first scene?

[@RobEllisCinematographer]

100%! - gives a good demonstration of the output compared to typical window light!

[@sondp]

@@RobEllisCinematographer crazy

[@sondp]

@@RobEllisCinematographer what about the percent of the forza 700 for the car backlight?

[@RobEllisCinematographer]

@@sondp I believe that was also 100%!

[@BantuTegemeo]

you are amazing

[@RobEllisCinematographer]

I appreciate your kind words!! :)

[@AVISIONMUSICTV]

You don't need lights when you have creativity...

[@RobEllisCinematographer]

A light is another tool, like a camera, to implement a vision you have in your head - so I'd argue it's part of the creative process! You can get away without lights for sure, but if you want better control over getting those images from your head and onto a screen, lights are a good way to do that!

[@AVISIONMUSICTV]

I completely agree. However, your title implies that a film maker would "Need" lights which is not true at all.

[@RobEllisCinematographer]

@@AVISIONMUSICTV unfortunately that's how this KZbin stuff goes, especially if you rely on it to make a living - I do always try my best to make things as non clickbait-y as possible and I hope the actual content of the video sways it away from being a "You NEED This Light to Make Movies!!!" implication, which is a title that I imagine already exists somewhere on here and I would never use haha!

[@AVISIONMUSICTV]

@@RobEllisCinematographer Aye it's all good! Keep up the great work🔥

[@jrshaul]

The weird bit is that this looks identical to a lot of Disney+ footage. Perhaps they're using the same equipment in similar ways?

[@RobEllisCinematographer]

I don't watch a lot of Disney stuff so I have no idea - maybe I'm just being very on trend with my lighting techniques haha, it's definitely not deliberate!

[@jrshaul]

@@RobEllisCinematographer I think Disney could do a bit better for $2,000,000 per episode but maybe they've got really good catering. Please continue making videos; they're great.

[@MidwestAppeals]

And there goes my savings...

[@RobEllisCinematographer]

Haha apologies!

[@roehaus1]

Great video! But for us poor people... a small, diffused spot behind the lamp and ND film on the window, in the example given, is a lot more plausible than owning a $3900.00 light.

[@RobEllisCinematographer]

Thanks Jerry! Absolutely, the first example was more a demo of the output rather than a "do it like this", especially since you wouldn't be recording any usable audio in that scenario haha! But yours is totally the right way to view it in my opinion - knowing how to do a similar thing on more of a budget, so that you're able to achieve the look you want on a lower or higher budget. Having access to these tools just makes things a lot more flexible!

[@Karlbak]

super

[@RobEllisCinematographer]

Thank you so much!

[@hairybanana9668]

Great commercial , now get a deal with lupo.

[@Supercon57]

Fyi, the video title doesn't reflect that this is part 4

[@risajiang8951]

👍👍👍👍👍

[@RobEllisCinematographer]

🙏🙏🙏

[@cindychen8220]

👍👍👍

[@RobEllisCinematographer]

🙏🙏🙏

[@Nick_Lavigne]

It's interesting that the shots don't look like a movie. So what's missing. Perhaps a rigid color palette and set design

[@RobEllisCinematographer]

Perhaps!

[@LucNegri]

fair enough but its also 5000 euros almost lol

[@RobEllisCinematographer]

Lights like this are often rented on small productions - and for what it does, it's much cheaper than it's industry standard competitors like Arri! Also you may know someone who has spent that much on a camera - why not on lighting? ;) but I'm not necessarily selling the light - I'm just presenting situations in which you may find something with a higher output useful! :)

[@LucNegri]

@@RobEllisCinematographer Because not all film making styles require lighting, to answer your condescending question

[@RobEllisCinematographer]

@@LucNegri not at all! It wasn't meant to be condescending - not everyone needs lighting to the story they want to tell or present the images they want to present - but it definitely helps when you want that kind of control!

[@PowersBenzoCoaching]

Great light but who has $4600

[@RobEllisCinematographer]

A lot of smaller productions will rent lights like this - and the video is an explanation of why you may need something more powerful to have more control over your scenes. And we all know people who spend that much on a camera haha! ;)

[@smalldeekgeorge]

Very nice way to fake those 21 stops of dynamic range :)

[@seanlennon5986]

You don't need anything apart from a camera and a lense.

[@RobEllisCinematographer]

A light is another tool, like a camera, to implement a vision you have in your head. You don’t need lights to make a film, no argument there, but if you want to tell a story visually with absolute control - lights are very important!