Lydia’s Story

Who knew that getting cancer could be a way into Carnegie Hall?

When Lydia Miner discovered a lump in her throat, she faced a blistering regime of radiation therapy in order to save her life. But the side effects would have left her unable to speak, or even eat, for a long time. Then she heard about a new form of treatment, robotic surgery, pioneered by a doctor at Seattle Cancer Care Alliance.

I made this film for Seattle Cancer Care Alliance, a tireless organization that works to bring patients new tools in the fight against cancer.

This piece was shot on Sony FS5 (SLOG3), and I cut it on Final Cut Pro X. Thanks to producer Sara Finklestein and crew members Alexandra Watkins (summer intern) and AC Kollin O’Dannel.

Genustech Solar Eclipse variable ND filter

Genus Eclipse variable ND filter

Genus Eclipse variable ND filter

When I first discovered variable ND filters, it was like trying on a pair of photochromatic sunglasses for the first time. Suddenly, I had a kind of super power: I could steplessly adjust exposure without touching the shutter, iris or ISO. I thought variable ND was the solution to all my DSLR video exposure problems. Like magic!

Variable ND and polarization

Then one day while reviewing footage of a subject shot in bright sunlight, I noticed that his skin tone looked like play-dough. I had no idea why. But I knew I’d been shooting with my vari-ND filter, so I was suspicious. I did some Googling, and learned that variable ND filters work by placing two polarizing filters in opposition to each other.  On most variable ND, the rear polarizer is fixed, and the front can be rotated. As the front filter is rotated, the opposed polarization causes the lens to darken. At maximum darkness, the crossing point is reached, where the image contains an X (if the field of view of the lens is wide enough).

At maximum darkness, the crossing point is reached, where the image contains an X (if the field of view of the lens is wide enough).

Crossing point, where the two polarized lenses reveal an X

Of course at this point the image isn’t usable. But at lesser degrees of rotation, and by avoiding wide-angle glass, the effect appears to be a darkening of between 2 – 8 stops.

But polarizers are tricky beasts. They are often used in landscape photography, to darken blue skies, for example, and enhance foliage. But when shooting a wide shot that includes the sky, a polarizer doesn’t affect the whole sky evenly – it polarizes the light at a 90 degree angle to the sun but not that falling parallel to it.

So variable ND isn’t the magic after all. And it has some limitations. But those same limitations can also be strengths. For example, when you want both a polarizer and you want some ND at the same time! But most vari-ND filters only give you the ability to rotate the front element, not the rear. To control the polarization effect, you have to unscrew the filter and hope it doesn’t fall off, as I described above.

Genustech’s solution

Genustech has created a variable ND filter that gives you a measure of control over this problem. It’s called the Solar Eclipse. It has a lovely little handle protruding from the second element, allowing it to be rotated. Rotating the handle doesn’t darken or lighten the image – it simply controls degree of polarization in your shot.

By rotating the handle, you can change the angle of polarization – where the dark edges appear in your frame. Sort of like a graduated ND filter. Rotated 3/4, it looks like so (ungraded images):

Genus Eclipse rotated 3/4

Genus Eclipse rotated 3/4, vignetting occurs in upper left and lower right of frame.

Rotated 90 degrees

Rotated 90 degrees, it appears to vignette the image from both sides (but not the top or bottom)

Standard ND

Without Genus Eclipse, (using just the built-in variable ND on the Sony FS5)

As you can see above, the built-in variable nd on the Sony FS5 is something quite special. To my eye, the ungraded image that uses the built-in electronic nd on the FS5 looks very faithful to the colors present in the actual scene. The Genus Eclipse appears to suffer from a bit of color contamination that shifts colors toward green (IR contamination, perhaps)?

Here’s how a standard Hoya polarizer compares to the Genus Eclipse (with an unfiltered image for baseline comparison):


Genus Eclipse vari-ND filter


Hoya polarizer

No filter

Sony FS5 built-in variable ND only (no polarization)

In the images above, again we see some shifting of colors toward green with the Genus Eclipse. Nothing that couldn’t be corrected out in post, but something to be aware of.

Speaking of eclipses…

One place where using a variable ND filter like the Eclipse comes in handy is when shooting the sun directly. With a long lens, such as a 300mm, you can rotate to the Genus Eclipse to the crossing point of the filter, and use that to look directly into the sun, as if wearing a pair of welding glasses. I found in my testing that with my lens set to f/16, I still needed to active my Sony FS5’s built-in filter to really tame the sun. But the Eclipse came quite close all by itself.

The sun with Eclipse ND and additional ND filtration added

The sun with Eclipse ND and additional ND filtration added

Which size filter to get?

Because most lenses have different filter thread sizes, I recommend getting a 77mm variable ND. Then, using step-up rings, you can use your 77mm filter with any lens of smaller diameter. You can even use it with lenses slightly larger, with a step-down ring. I use the Genus Eclipse with my 300mm Nikon f/4 lens, which has an 80mm filter size, for example. It works great without noticeable vignetting. But anything larger than 80mm, you’re likely to get vignetting.


As long as you’re aware of its limitations, the Genus Eclipse ND filter is a useful tool to have in your kit. Especially for filmmakers who don’t have a camera with built-in ND, it provides you the ability to reduce the amount of light hitting your sensor by 2-8 stops, without touching shutter speed, aperture or ISO. Just be sure to keep an eye on how polarization is affecting your shot, and use the handle that Genus provides to control that.



Teradek Bolt Pro 300: 5 tips

Teradek 300 HDMI wireless video transmitter

Teradek 300 HDMI wireless video transmitter

I had a project a few days ago where I wanted to provide a client monitor. I rented a Teradek Bolt Pro HDMI wireless transmitter, and learned a few things that I’d like to share about wireless monitoring.

  1. HDMI cables suck. I couldn’t get a signal and spent a lot of time trying to figure out why the transmitter wasn’t working. Turns out the HDMI cable was bad.
  2. The Bolt Pro 300 receiver runs very hot. If it gets too hot, the signal will cut out unexpectedly. I found that placing it on a table was where it overheated – it was happiest with good airflow around the unit.
  3. The SmallHD 502 and 702 monitors both offer loop through from SDI to HDMI, so it was possible to output to the client monitor via HDMI while at the same time receiving a rock solid SDI signal from camera to monitor.
  4. Test everything thoroughly the day before your shoot.  The power requirements, the calibration of the monitor you’ll be using, and how you’ll be mounting everything. The details will kill you if you don’t get them right ahead of time.
  5. Did I mention HDMI cables suck? Next time I will pony up the extra cash to rent an SDI transmitter, because the HDMI cables really aren’t worth the headache in a production environment.

I was pleasantly surprised with how little latency the wireless video signal had. It was no problem to use the wireless signal to pull focus with. I can definitely see incorporating the SDI version of this system into my future production environments.

Use FilmConvert Pro to nail your skin tones

When I started filmmaking with a DSLR about 7 years ago, I discovered that the most difficult thing to get right in post production was skin tones. No matter what I tried, they just didn’t look right. A lot of the time, I couldn’t even put my finger on why.

Then I discovered FilmConvert Pro. With my Canon DSLRs, all I had to do was drop FilmConvert on a clip, and something magical happened. The skin tones suddenly looked human and alive. That made such an impression on me that I used FilmConvert to grade my first feature-length documentary, which was shot on a pair of Canon 60Ds.

In the years since I’ve moved into shooting more and more commercial work on higher quality cameras. Along the way I taught myself how to use DaVinci Resolve and began relying on it to generate dailies. So when I decided to try FilmConvert again recently on a commercial project, I was surprised with a new discovery: the skin tones I was getting in Resolve didn’t look as good as the ones that FilmConvert could give me!

The good news, however, is that FilmConvert works inside Resolve, so I don’t have to give up the power and precision of Resolve. I can still create complex masks, track motion, etc., while using FilmConvert. I’ll explain how to do that below as I create a nursing recruitment video. But first, I should mention that it’s possible to use the standalone version of FilmConvert  if you don’t have Resolve, or any other editor, for that matter. But it has some limitations.

film convert standalone app

FilmConvert Standalone version

The first thing I noticed about the standalone version of FilmConvert is that It feels a little raw. Some of the basic Mac OS conventions don’t work. For example, in the Clip Browser, if you want to use the arrow key to advance to the next clip, you can’t.  So you are forced to use your mouse to select clips, which slows me down. It also takes more than two seconds after clicking on a clip for the thumbnail to appear, which doesn’t seem like a big deal until you start scrolling through a list of a hundred clips. There’s also no way to play a clip in the browser – you just get a static thumbnail or list view.

These days I’m shooting a lot of my projects on a Sony FS5, so I was disappointed to discover that MXF files are not supported in the standalone version of FilmConvert. You can, however,  import an XML file from an application like Final Cut or an EDL from Resolve. But that adds another step to your workflow.

On the plus side, however, once you get your clips into the app, the Film Settings panel makes it very easy to preview clips and audition different settings. Hitting the space bar plays clips as expected, but JKL keys are not supported for shuttling through footage. Once you’ve found a look that works for your project, you can save it as a preset.

The app also provides a menu called Viewing Target, that allows you to change the gamma to match that used in the three most common finishing platforms – Premiere Pro, FCPX/Quicktime or FCP/Resolve. Very helpful.

DaVinci Resolve

DaVinci Resolve and I have a love/hate relationship. I love the power that Resolve gives me to control color, but with great power comes great responsibility. I hate the amount of work it takes to tweak things before they look just right, especially with SLOG footage. Also, SLOG 2 footage requires slightly different tweaking than SLOG 3. But I’m never sure exactly which tweaks.

With FilmConvert’s OFX plugin version, you can get 90 percent of the way to your grade simply by dragging and dropping. It’s a real timesaver for me to load FilmConvert, which knows all about the differences between picture profiles, as my first step. From there, the remaining tweaks are usually simple.

Before we jump into Resolve and see how this works, I should mention that the footage for this project was shot on my Sony FS5 using SLOG-3/Cine overexposed one stop to kill noise. When I open Resolve and place the clips into a timeline, here’s what one of the ungraded SLOG clips looks like:

uncorrected slog-3 clip

Uncorrected SLOG-3 clip looks very flat

Note that you can do everything I’m demonstrating here with the free version of Resolve.  Then, download the OFX version of FilmConvert Pro, and follow the directions to install it in Resolve. The first time I installed FilmConvert this way, I made the mistake of trying to apply it to my clips in the Edit tab, which contains a OpenFX tab under the Effects Library menu. Ignore that, and instead apply FilmConvert on Resolve’s Color page. Here are the steps.

  1. Import your clips into Resolve and add into Media Pool.
  2. Create a new timeline with your clips.
  3. Open the Color tab. For my workflow, I want to convert all the clips simultaneously, so instead of applying FilmConvert to each clip, I start out by switching from Clip mode into Timeline mode. This allows us to simultaneously apply FilmConvert to all clips in the timeline. Select "Timeline" instead of "Clip."
  4. Create timeline node. You’ll notice that there are no nodes in the node tree when you switch into Timeline mode. You will need to add one before you can apply FilmConvert. From the Nodes menu, select Add Serial Node (or press option-s).
  5. Apply FilmConvert. Click on the OpenFX menu to reveal the OFX Library, and scroll down until you see FilmConvert. Drag it onto the timeline node to apply it (below):
    Screen Shot 2016-08-14 at 1.02.31 PM
  6. Default profile is applied. You’ll immediately notice the clip gets grainy. FilmConvert applies a standard profile by default, and adds a lot of film grain. We’ll fix that in a minute.
  7. Add a serial node. In order to make global color corrections later, I add a second serial node in front of the one I’ve applied FilmConvert to (shift-s). FilmConvert should always be applied to the last node in the node tree. Then double click on the 02 node so that it’s active.
  8. Select Camera. Next, in the FilmConvert menu in the Settings sidebar, we want to select our camera profile:Screen Shot 2016-08-14 at 12.13.46 PM
  9. Select picture profile. Also choose the picture profile you used when shooting. FilmConvert gives you options for +1 and +2 overexposure options:
    picture profile

    Select picture profile

    grainy image

    Image with default profile, which is too grainy for my taste

  10. reduce grainAdjust grain. OK so now you should see your image starting to look better. But the first thing I notice is that it looks very grainy. I’m not a fan of film grain for most commercial videos (the whole point of having high quality camera sensors is to get rid of grain, isn’t it?So the first thing I do is reduce the grain slider to 0. I DO sometimes like the grain for more creative pieces, however, and in fact, the grain can be very helpful in disguising thinner 8-bit codec adjustments. In those cases, I find that setting the grain slider between 30 and 50 is about right. But for this piece, we’ll keep it clean.

    Exposure adjustments made

    With a few exposure adjustments, our image begins to pop

  11. Exposure changesAdjust the exposure. The next thing I’m noticing is that my clip is a little dark. FilmConvert provides contrast adjustment tools within the  plugin. You can make global exposure and color temperature adjustments in the plugin’s Camera Settings menu. Or scroll down to make more detailed adjustments to lift (shadows), gamma (midtowns) and gain (highlights). However, we’re already working within one of the most powerful tools for contrast and color adjustment – DaVinci Resolve – so I tend to make my global changes in that node we added previously. But if Resolve’s controls are intimidating to you, don’t worry! Just grab the Exposure slider and move it until your image looks properly exposed.
  12. Choose a film stock. OK, so with a few contrast adjustments made, our image is looking pretty good. Now for the fun part: choosing our film stock. This is the palette you get to play with, the place where subtle differences can be hard to see, but have a huge impact on your final look. I recommend using one of Resolve’s comparison tools, Grab Still, to help you see the difference between stocks side by side.  With the default Film Setting selected (KD 5207 Vis3), click on the viewer and select “grab still.”grab still
  13. Grab a still for each stock. Select the next film stock on the list, KD 5213 Vis3. Grab another still. Repeat for each of the stocks you want to compare (FJ Neo through KD TrX400 are black and white, so I’ve skipped those). Now click on Gallery at the top left of Resolve’s window. You will see a thumbnail of each still displayed in the left column. You can click on each still and give it a name that matches the film stock. still gallery
  14. Expand the gallery. In the menu at the top of the stills, you’ll notice a slider that controls the size of the thumbnails. To the right of that is a search icon and a four-arrowed icon. Click the arrowed icon to expand the gallery.

    expand gallery

    With gallery expanded, you can easily compare the subtle differences between film stocks.

  15. adjust controlsSelect film stock. Choose the film stock you like best. You can make further refinements to the look in the FilmConvert plugin controls. Film Color and Curve are two controls that help you dial in the exact look you want. I find that FilmConvert’s Curve tends to be quite contrasty when applied at the default 100 percent.  You may want to back it off slightly. And Film Color is like the opacity sliders in Photoshop that allow you to back off on the intensity of the entire plugin (dialing this down to 0 returns you to completely flat SLOG3).
  16. Make individual adjustments. Check the other clips in your timeline. They will likely need individual adjustments, and you can do those on the Clip node, rather than the timeline node.
  17. Export dailies. When you are happy with how each clip looks, switch to Resolve’s Deliver window, and export your files in the editing-friendly codec of your choice. I export to ProRes for editing in Final Cut Pro X.

Before we leave Resolve, I want to point out one more very cool feature of FilmConvert. It’s the ability to export a LUT based on your film look. I use this a lot, because I most often am shooting SLOG on a Sony FS5 using a SmallHD 502 or 702 monitor. These monitors support LUTs, so by loading this LUT into the monitor, I can see what the video will look like AFTER FilmConvert is applied using my settings. It’s a great way to previsualize on set. If you have a client looking over your shoulder while shooting, this is invaluable. Here’s how to generate the LUT:

Click "Export 3d LUT"

Click “Export 3d LUT”

Screen Shot 2016-08-15 at 11.33.20 AM

The default name isn’t very helpful

Screen Shot 2016-08-15 at 11.34.26 AM

Give the LUT a name that accurately describes the look being applied

The resulting .cube file can be then loaded onto the monitor.

OK back to cutting our video. The next step in my workflow is to cut my footage in FCPX. So I import the dailies we’ve generated in Resolve into FCPX, and start cutting. For this particular video, I will use some additional media (animated stills) that doesn’t have FilmConvert applied to it. That’s OK! FilmConvert works with FCPX too (provided you have the FCPX-specific plugin, which can be downloaded from the FilmConvert site.

The stills I’m working with were shot with an unknown camera. So to match them to my footage in FCPX, I drag and drop the FilmConvert plugin onto the still, and using the on-screen controls, select the Default profile.

Match footage

In FCPX, we can match unknown camera types using the default settings and onscreen controls

This shot is too warm – I want to cool it off. So I drag the puck in the middle of the color wheels in the direction of my desired color shift.

Screen Shot 2016-08-15 at 10.20.56 AM

Before applying FilmConvert

Screen Shot 2016-08-15 at 10.22.19 AM


after applying filmconvert

After applying FilmConvert

To apply the same change to all of the additional stills, simply copy and paste the effect.

Here’s the finished video:

Getting a consistent film look is quickly achievable using FilmConvert, without having to delve into the complexities of color correction. And even if you do know those complexities, grading from scratch takes a lot of time. And that’s why I like FilmConvert Pro: it frees me to focus on the story, and empowers me to ship faster. What’s not to love about a tool that can do that?



Chasing the perfect timelapse with the Rhino Camera crew

sourdough mountain lookout north cascades national park

Just after sunrise, the 365-degree view from the top of Sourdough Mountain Lookout is breathtaking. Shot with Sigma 20mm f/1.4 Art series lens.

For this post, I’m going to let the pictures do most of the talking. How did I find myself in a place to take these photos? Well, Kyle Hart of Rhino Camera Gear sent out an invitation to Rhino customers a couple weeks ago, inviting us to join him and one of his team members on a backpacking trip into the North Cascades. That’s what I call customer relationship management!  I still can’t believe I was the only person who said yes.

Kyle’s goal for this trip was to find an epic spot to shoot a timelapse of The Milky Way. Well, we found that spot. It’s called Sourdough Mountain Lookout, and I’ve never seen a view like the one we saw as we woke up in the morning. The fog spread below us in all directions, like a glacier from the ice age. It was an unforgettable moment.

I hadn’t had my coffee when I headed out for this trip at 6 in the morning, and forgot the motor for my slider in my living room. (Tip: never leave the house without having coffee first). So for this trip, I left the timelapse shooting to the Rhino guys, and focused on shooting stills with my 5dmkiii.

As a result of this trip, Rhino Camera will soon have some fresh content on their website featuring tips on how to pack Rhino sliders for backpacking, and how to shoot a great Milky Way timelapse. I’ll put up a link to that here as soon as it’s up.

New video for Seattle Cancer Care Alliance

Here’s an informative little cancer video project my crew and I just delivered to Seattle Cancer Care Alliance, a client that’s been keeping us very busy this summer. We’ll be doing a lot more videos of this kind for SCCA over the next few months, uncovering powerful human stories about these innovative healthcare providers and the patients they serve.

How it was lit

I typically start to light a scene by deciding which light to take away. In this case,  the lab was grossly over illuminated (for filmmaking purposes) with ugly overhead fluorescents. I wanted to separate the doctor from the background, through both luminosity and color. So I turned off half the overheads, the half behind the subject, and left the half in front of him on. Then, by setting my Sony FS5’s color temp to 3200K, I was able to create a nice blue wash in the background from light leaking through the closed windows. That created nice color separation. But his face was now too dark. I fixed that by filling  strongly with my LiteGear LiteMat2 placed camera left, through 1/2 grid cloth. Next, I gave a little blue kick to his shoulder with my lovely new Dedolight DLED7 through Hampshire frost. Then I just set the aperture on my Zeiss 50mm with Speedbooster to f/2.0, and boom! Done.


B-roll was all shot very quickly, handheld with Zeiss primes and a 100mm Canon macro for the tight stuff. When I got to cutting the piece, I was reminded why my Canon 17-55mm f/2.8 IS lens is usually my go-go b-roll lens: because it is image stabilized! My FS5 is so ergonomically awesome, that I find myself shooting handheld more than ever. But when doing so, a lens with IS really is nice to smooth things out. Nevertheless, I sure do love that full-frame look of those Speedboostered Zeiss primes.

Sidebar: I am taking another look at Canon’s 24-70 f/4 IS lens, not because of its optics, but because of its image stabilization. In theory, with a Speedbooster it should look virtually identical to and be just as fast as my Canon EF 17-55 f/2.8, only with much better handholding because of it’s 4-stop hybrid IS. Will be experimenting with that combo on my Sony FS5 on an upcoming shoot and look forward to sharing the results.

Thoughts on 4K

I’m finally coming around to shooting my interviews in 4K. It really is nice to have the option to punch in for a tight shot pulled from a medium shot. But the drawback is focus. Focus is really, REALLY important to nail when shooting 4K. And on both the FS5’s LCD and my SmallHD 502 monitor, it’s harder to gauge focus in 4K, because the image looks a little smudged compared to HD. So it really does require careful monitoring during a shoot, especially when you do what I do, which is shoot damn near wide open all the time to visually separate the subject from their background.

I’ve shot with both the internally recorded 4K and with external recorders, and I gotta say, for the type of work I’m using it for (well lit interviews), the drawbacks of external recording outweigh the benefits of internal. Smaller file size counts for a LOT.

Many thanks to my crew – producer Sara Finkelstein, camera assistant Kollin O’Dannel (who took one for the team when he nearly fainted as the doctor described a surgery), and intern Alexandra Watkins who rolled sound.

Dedolight DLED7: the ultimate LED shadowcaster?

Dedolight DLED7: precise and versatile

The new DLED7 Turbo is an exceptionally precise and versatile light with all the Dedolight features plus optional battery operation

Lighting involves two big things: putting light where you want it, and NOT putting it where you don’t want it. To say a scene is lit means more precisely that an important part of it is lit, and an equally important part remains hidden. Placing shadows is just as important as placing highlights. And no light allows you to place shadows with less fuss than a Dedolight.

Original Dedolight

Original Dedolight

Dedolights have earned a reputation for precision in the film industry. The venerable 150-watt DLHM4-300 tungsten hot light can throw a 3200K beam exactly where you want it, with virtually no light spill, thanks to the company’s patented aspheric optics. What’s more projector attachments are available to further focus the light. With one of those, you can literally hit a nail on the head from across a room.

I’ve lusted after one of these beasts for a long time, but decided to wait until an LED version arrived, because more often than not, I’m mixing daylight on location rather than tungsten. The wait is now over, and it’s called the DLED7. (Note, Dedolight’s DLED4, which shares the same form factor,  has been available for more an a year but wasn’t powerful enough for my needs).

Dedolight DLED7 with DP2 projector

DLED7 rigged with optional DP2 projector

On paper, the DLED7 gives you everything its tungsten predecessor gave you in terms of precision while adding a number of new benefits:

  • Low power draw (90 watts) means it will run for a little over an hour at full power on a high-output v-mount battery such as the Switronix Hypercore 98WH.
  • Dimming is greatly improved, because the LEDs don’t suffer the red shift that tungsten lights do when dimmed.
  • The DLED7 is also runs much cooler, although it does require a very quiet fan. The light gets warm to the touch when operating, but never too hot to hold.
  • Color temperature is adjustable from 2700K to 7400K without gels.
  • The even beam of light produced by this instrument is gives you consistent light meter readings from nearly edge to edge. So you can use it to light a background with a single source. And, the light can be spotted from 1:20 (a typical fresnel is only 1:5) and cut very precisely with barn doors. Exciting stuff!

How does it work?

It’s a remarkable design achievement, really, that Dedo can make a bi-color light that remains fully focusable for both tungsten AND daylight. They achieve this by checkerboarding the different color LEDs at the focus point of the light behind the two aspheric lenses. I removed the lenses to have a peek at the guts:

DLED7 aspheric lens

It’s a simple matter to remove the two aspheric lenses and get a look at the LEDs themselves.

The LEDs are arranged in a checkerboard shape.

The DLED7 LEDs are arranged in a checkerboard shape. Half of the LEDs are tungsten and half are daylight (90 watts total for each)

DLED7 battery ballast

DLED7 battery ballast is rather large and heavy. It offers dimming and color temp controls and on/off switch.

The first time I used the light for more than half an hour at full power, I was surprised how hot the ballast became. The temperature increases the longer you run it all the way up to about 140 degrees, which is almost too hot to touch. I emailed Dedolight support asking whether that was a problem. I received a personal note from Dedo Weigert himself, explaining that the heat is a design tradeoff they made to keep the ballast as small as possible.

Another observation about the dimmer: it is not stepless,  changing in small increments like aperture control on a Canon. The steps are small enough to not be an issue, but it’s impossible to do a completely smooth fade up or fade down the light without visible stepping, just as smooth iris pulls are impossible with Canon still lenses.

DLED7 ballast controls

DLED7 ballast controls

The first time I switched on the light, I was surprised it wasn’t brighter. But then I realized just how bright it gets when focused. Just how bright is it?

DLED7 vs Lowel Pro Light

By way of comparison, I put the DLED7 head to head with my Lowel Pro Light, a small 200-watt light that throws a very nice beam a long way. I found that the Pro Light is about 3 times brighter when fully spotted, to the DLED7 in tungsten mode spotted equivalently (which is about half spotted). However, it’s possible to focus the DLED7 MUCH more precisely. But daylight is the great equalizer. With a dichroic filter attached to the Pro Light to bring it to 5600K, the two lights are equally bright, and with equal throw.

Wide color range

DLED7 color temperature indicator on the ballast

DLED7 color temp indicator

It’s worth noting that my DLED7 is slightly less bright at 3200K than it is at 5600K, by about 1/3 stop. The DLED7 goes even further up and down the Kelvin scale, though, advertised to go from between 2700K and 6800K. As it turns out, it actually goes quite a bit further up the Kelvin scale than that, as I discovered next.

Color accuracy scores

I tested the DLED7 with a Sekonik Spectromaster C-700R color meter, which reveals some interesting details about the quality of the light.

First test: How accurate is the ballast color temperature indicator vs. the actual measured color temp?

What I observed is that the DLED7 tends to run cooler than the ballast readout, and that the more you turn up the dimmer, the cooler the color temp gets. The only way I could hit 2700K, in fact, was to dim the light all the way down to 2 percent (the light is off at 1 percent), where it read 2733K.

Color temp set at 2700K:

Dim 2 percent: 2733K
Dim 10 percent: 2775K
Dim 25 percent: 2776K
Dim 50 percent: 2827K
Dim 75 percent: 2845K
Dim 99 percent (brightest setting): 2860K

Going to the far blue end of the scale, with my color temp set to 6800K, we find the same thing, only it’s even more blue-shifted. Here’s my readings:

Dim 2 percent: 6738K
Dim 10 percent: 6905K
Dim 25 percent: 7089
Dim 50 percent: 7395K
Dim 75 percent: 7459K
Dim 99 percent: 7422K

So where the DLED7 is furthest from its advertised color temp is when it’s at it’s bluest and brightest, at which point it’s about 600K over the mark. Definitely something to be aware of.

In practice, it’s pretty easy to adjust for this to hit 3200K. Just set the temp readout to 3100K, which put my readings within 100K of the target at all dimmer settings. For 5600K, though, things get trickier. At 25 percent dim, set to 5900K. At 50 percent, it wants to be at 5500K. At 99 percent, setting to 5300K got me real close. In practice, as long as you don’t mind being a few hundred K off your mark, you’ll be fine. But for precise color work? Carry a color meter and be ready to use it a lot.

How does the DLED7 stack up against other lights in terms of CRI rating?

I tested the CRI and color spectrum of the DLED7 at both 3200K and 5600K (as measured on meter, not by the color temp readout on the ballast, because those numbers are slightly different as outlined above). For this test, I used a Sekonic Spectromaster C-700R.

At 3200, the DLED7 scores exceptionally well. CRI: 97.3

The DLED7 measured at 3200K

The DLED7 measured at 3200K

At 5600, things slip just a little a bit. CRI: 95.3

DLED7 at 5600K color rating

DLED7 measured at 5600K

Most notable is the R9 readout in the far right column, above. The R9 shows how well the light does in reproducing saturated reds. These are important colors for skin tones. So we would ideally like to see as high a rating as possible for R9.

It turns out, though, that scoring 75.9 in R9 is quite good for an LED light. By way of comparison, my lovely bi-color LiteGear LiteMat2 has a measured CRI of 93 and a R9 score of 73.2 for daylight and only 64.4 for tungsten. And yet, it still produces fabulous results with skin tones.

To illustrate why, consider this: professional gaffers wouldn’t hesitate to place a full CTB filter over a tungsten light to match daylight. But guess what that does to the R9 score of a tungsten light? See for yourself (measured with my Lowell Pro Light and full CTB):

A tungsten light with full CTB filter shows even lower R9 and lower CRI

A tungsten light corrected to daylight with full CTB filter reveals an even lower R9 score of 68.4 with a CRI of 89.4.

Suffice to say, if the Dedolight DLED7 is posting scores that easily beat a tungsten light corrected with CTB, it’s more than good enough for film production work.

For information about how this light stacks up against other LED film lights, check out the very comprehensive light test results published by Indie Cinema Academy. As of this writing, their tests do not include ratings for the DLED7.

A few tips for getting the most from the DLED7:

Glue black felt on the  barn doors (the two larger ones, not the small adjustable ones). Because they no longer get hot, adding light-absorbing material to the surface of the doors makes them less reflective and improves their light shaping ability tremendously.

The barn doors feather the light when it is spotted, and cut it when it is flooded. For example, if you rake the light along a wall at full spot, closing the barn doors on the wall side, you can feather the light  to spread it evenly across the wall, achieving the same effect as a graduated scrim.

DLED7 as rim light

DLED7 as motivated rim light, with barn doors used to feather light as it falls off subject’s camera-right shoulder.

DLED7 as back light.

DLED7 as back light, visible as the splash of blue light on subject’s camera-right shoulder.

The power connectors on the ballast are well designed, and have plenty of length to allow you to run the light up a stand without fuss.

DLED7 battery ballast

DLED7 battery ballast

DLED7 kit all ready to roll in Nanuk road case.

My DLED7 kit all ready to roll in Nanuk road case, with both AC and DC ballast.

Hanging the DLED7

Avenger baby pin

Avenger baby pin

I’ve found that the best way to mount the DLED7 on a stand is with the aid of a 5/8″ baby pin. The yellow mounting screw on this light is a little funky, requiring like five turns to mount it to a light stand. And because it’s bottoming out at that point, it has to be over-cranked to get a firm enough bite to keep the light from slipping.

Using a pin gives you a lot more flexibility in how you mount the light, and because the 5/8″ pin is ticker than a standard light stand,  it doesn’t have to be over cranked.

Mounting DLED7 to stand using a 5/8" baby pin

Mounting DLED7 to stand using a 5/8″ baby pin allows more flexibility and security

A Norm’s Pin isn’t a good choice for this, because the DLED7’s receiver isn’t deep enough to engage properly. Instead, I use an Avenger E250 Long Double 5/8″ Baby pin which has a shallower lip. As a bonus, the Avenger baby pin also fits perfectly into a Manfrotto Boom Stand.

So, here’s what it all boils down to:


  • Pricey and doesn’t include required accessories.
  • LED version isn’t as bright as its tungsten predecessor.
  • Currently it’s a special order item in the US.
  • Measured color temperature runs cooler than ballast indicators display.
  • Dimming, especially at cool end, shifts the color temperature.


  • Wide color temperature range from 2700k – 7400K (measured)
  • Very portable
  • Dimming at warm end without significant color shift
  • Battery operable for long periods
  • Controllable, even light spread
  • Exceptionally focusable

The DLED7 is very special location light that can do what no other LED light can do in terms of focused throw with virtually zero light spill. It’s very easy to place a light or a shadow exactly where you want it with this light. It excels as a background light, and as a back light, rim light or hair light. For some kinds of commercial work, such as photographing a beer label illuminated just perfectly, it’s in a class all by itself. It’s portability, battery operability, and huge color temperature range make it the swiss army knife of location lights.

But at $1700, it’s also quite expensive and doesn’t ship with required accessories (you have to add a ballast, and the one for battery use costs over $500 and the one for AC use costs more than $700). The DP 2.1 projector with 85mm lens adds another $477. DP EYESET diffusers adds another $116. Barn doors: $50. Also, the ballast color temperature readout isn’t fully accurate, and especially at the cooler end of its spectrum, the light shifts color temperature as it is dimmed.

Nevertheless, this is a light that gives you real lighting superpowers: the ability to decide exactly where to place the light and shadow in your frame, at whatever color temp you want, without a power cord. I recommend it without reservation. It’s exceedingly well made and precise, exactly what you’d expect from a Dedolight. And the premium price is something we in the film industry expect to pay for top gear. I look forward to recouping that expense over the many years of service this light is likely to give me.

Want to try it out for yourself? Rent my Dedolight road kit, which includes all the above items, via (Seattle pickup only please.)

DLED7 road kit

DLED7 kit ready to roll in Nanuk 935 case


Shooting raw on Sony FS5 with Atomos Shogun Flame

Atomos Shogun Flame with sun shade on Sony FS5

Atomos Shogun Flame with sun shade on Sony FS5

I have been eagerly awaiting the raw upgrade to Sony FS5 that was released last week. What does 12-bit 4K raw look like on this camera? I purchased the $600 CBKZ-FS5RIF upgrade as soon as I could, installed it, and over the weekend, had a chance to shoot a little on a music video project. Here’s my initial observations, based on recording with a Atomos Shogun Flame.

First insight: the Flame isn’t actually a raw recorder just yet. You are limited to recording 4K 10-bit ProRes or DNxHR from the Slog 2 or 3 12-bit raw signal that the camera sends. This means you don’t have the option, if you want it, to “develop” the digital negative to your liking from CDNG using raw tools like Resolve or Adobe Photoshop. Atomos says CDNG raw will be supported in a future firmware upgrade.

If you want 12-bit CDNG raw now, an Odyssey 7Q+ with the latest firmware and an FS5 will do the job. I look forward to testing that combination soon. However, from experience I know the Odyssey screen isn’t as bright as the Atomos Flame, and I love me a bright monitor. However, the Odyssey is OLED, which the Flame is not.

Atomos Shogun Flame sun shade

Atomos Shogun Flame sun shade allows touch screen to be accessed through an opening in the bottom.

So, just how bright is the Flame? The sun was shining in Seattle yesterday, so I had a chance to really work it. And I found that it’s noticeably brighter than a SmallHD 702 (1500 nits vs 1000 nits).  In direct sunlight, though, you still need the hood. That’s because the screen is highly reflective, and in glaring sunlight, you need to cut down on sources of reflection. The Atomos hood creates a box with a little window you can peer through, which effectively reduces the area of reflection to a small rectangle in the middle. I found that wearing a ball cap while operating further shades this opening, making it possible to view the screen pretty effectively even in direct sunlight. But the best option? Shade the camera and operator with a flag or umbrella.

The HDR mode is…interesting. It does look cool, visibly brighter than in rec 702 mode. But it feels a little 1.0 to me. The pixels aren’t OLED, so brightness feels like it’s coming from over cranking the LCD pixels. I’ve seen a real OLED Sony HDR monitor, and wow, it blew me away with its brightness. This monitor doesn’t even come close. It’s more like a preview of coming attractions than the real deal. But it’s a start, and I applaud Atomos for shipping it as soon as possible, because HDR is going to be amazing when it gets here and is widely supported on consumer monitors.

There’s a display mode on the Flame that tries to convert Sony SLOG2 or SLOG3 to Rec709 using Sgamma 3 or Sgamma 3.cine color modes. The problem is, it doesn’t really work for me, because I (properly) overexpose my SLOG. To visualize that, you need a LUT, and the Flame happily does support LUTs, allowing you to load up to 8 custom ones.

I found that the LUT I normally use with SLOG3 looked slightly different when applied to the raw signal of the FS5. So that will need some tweaking. But the good news is that your LUTs will work and can be applied, not only to the screen view, but you can burn them in to the recorded footage if you choose.

Slow Motion is a non-starter on this Shogun. The Flame will display a 60p signal, but the record button is disabled, meaning it does not support any slow motion frame rates above 30p. The Flame doesn’t display anything but noise when the S&Q option is enabled on the camera. You’ll need a Shogun Inferno to record at 4K 60p, in burst modes, and in the 2K slow mo mode.

There’s also no way to down-convert the raw 4K -> 2K on this recorder, which means you HAVE to record 4K, fwiw. Not a big deal since you can record 10-bit on the camera’s sd card. But it would be nice sometimes for workflow reasons to go straight to ProRes in 2K instead of having to transcode the footage first, something the Odyssey supports.

Neither SDI nor HDMI output is available when shooting raw, which means you can’t send a feed to a director monitor (at least not to the SmallHD 702 I used for testing).

Battery: The Flame chews through batteries. Bring lots of them if you plan on shooting for very long.

Sound: The Flame has a fan, but it runs nearly silently after noisy boot up.  In a hot production environment, this might be an issue.

So, how about that 4K image? Jury’s still out. I definitely noticed the same kind of noise in the shadows that you see with SLOG recorded in-camera. Apparently 10 bits isn’t enough to solve for that. I’ve been told that 12 bits isn’t enough either – that you need 16 bits before those shadows really come clean right out of the camera. So just be aware that you will still need to overexpose the same way you do with in-camera 8-bit or 10-bit SLOG. Beyond that, the benefits of shooting 4K in 10-bit are all there: you can push the file around in post more without degrading the image, you get better color information and no macro blocking and artifacting that you can see when pixel peeping your XAVC footage.

Conclusion: I wouldn’t buy this recorder, but I would happy rent it again – until the Inferno is available.

Chasing perfection with a probe lens for beer promo

A few months ago I had an opportunity to shoot some ingredients for a Sierra Nevada beer video using a probe lens. The results of the work are now public, and I’d like to share the process we used to make a few of the images with this unconventional optic.

Director Mark Bashore had most of the road trip footage for this spot already in the can, but he wanted some super sexy shots of the ingredients that go into the beer, and a beauty shot of the beer itself. So he convinced his wife that it would be a good idea to set up a studio in their living room for a few days and go crazy with lights, track, and cameras. Fun stuff!

Mark wanted shots that literally felt like flying through the ingredients, and he had the idea to use a probe lens. I’d never heard of a probe lens before. Turns out it’s a specialty lens, designed for special effects and tabletop photography. It’s basically a long telescope-like snout that optically allows the lens to sit on the tip, apart from the camera. This allows for otherwise physically impossible shots, such as driving the lens through openings that are too narrow for a camera body. Incidentally, this type of lens was used to shoot many of the special effects in the original Star Wars.

probe2pluspic3I went searching for a rental house that carried such a beast, and after researching the options, I picked Innovision Optics, an LA based company that helped pioneer the development of probe lenses in the 80s. They sent us their Probe II + package, which covers Super 35mm sensor cameras and comes in PL mount. I hooked it up with my Sony FS5 camera with PL adapter, and everything tested out great.

The kit comes with a full set of miniature lenses, that vary in focal length from 9mm up to 55mm. In testing I found you really want to be shooting wide when you’re doing tabletop shooting, because it’s the wide focal lengths that give you that immersive experience with the subject. I initially wasn’t overly confident that the tiny lenses could produce great results, but I was very impressed by what I was seeing on the monitor.

One of the nice features of separating the lens from the camera is that it allows you to get the lens dirty. The snout is designed to be waterproof (according to Innovision), so splashes of ingredients on the lens and lens housing could easily be wiped off between takes, while the camera stayed dry. However, I don’t think you’d want to fully immerse it in water.

I rigged the lens with a DJI Focus wireless follow focus, to allow focusing the lens during pushes without touching the rig. The prevented unwanted camera shake, and worked flawlessly. But one note of warning: if you’re renting the DJI Focus, be sure to allow plenty of time to familiarize yourself with the unit beforehand. It’s not immediately intuitive how to calibrate it and get it responding to pulls just the way you want.

So let’s take a look at a few of the shots:

Grapefruit being ripped apart while lens pushes through the middle

Grapefruit being ripped apart while probe lens pushes through the middle

Mmm. Isn’t that a mouthwatering shot? We had to do a lot of takes to get just the right energy, and we went through a lot of grapefruit in the process. The lens was seriously sticky by the time Mark moved on to the next shot. I placed a Arri 650 as the backlight (which you can almost see providing the rim light) and filled with a LiteGear LiteMat2 at 3200K. Notice the lovely flare the probe lens produces, and the tiny details. The grapefruit, from this perspective, becomes a monumental presence.

Grapefruit push in shot

Grapefruit push in shot in 4K

For the pink grapefruit on pink background, I rigged the camera on an arm and rolled on it in 4K with the FS5. It’s lit from one side by an Arri 650 bounced into a 4×4 foam core, with bounce on the opposite side. The push was done in post. That 8-bit 4K works great as long as you expose correctly!

composited grapefruit with neon sign

Composited grapefruit with neon sign

For the grapefruit in this composited shot, we used my Rhino Motion slider as a dolly for the grapefruit. It was easier to control the motion by moving the ingredients for shots like this than it was to move the camera. To create the platform, I mounted a Matthews laptop table on the Rhino slider’s 3/8″ spud using a ball head.

The neon sign is real, and was made specifically for the shoot. We shot it against black foam core. The compositing was a little painful for this, requiring each frame to be individually selected in Photoshop to clean up edge artifacts.

Beer shot in an aquarium

Beer shot in an aquarium

Beer poured into an aquarium

Beer poured into an aquarium

For the beer shots, we poured a lot of beer into an aquarium, and tried lighting it different ways. Most of these shots are played unnaturally – i.e., backwards, upside down, or sideways, which supports the larger than life vibe of the piece.

We shot most of these at 240 frames per second with the Sony FS5. I used CineGamma 3 for most of these shots, because we were pushing the limits with the light. I wanted as much depth of field as possible, so I was stopping down here to like f/11 and it was everything my pair of Arri 650s could do to push enough light. We were using the lights without any diffusion, just blasting at the tank from above, below and beside at different times.

slow push into glass of beer

The Money Shot: a slow push into carefully lit glass of beer

We spent a LOT of time trying to get the lighting right for this shot. I had the camera on a Dana Dolly, with I think a 35mm Zeiss Contax prime lens on IV Metabones adapter. I was shooting at about f/11 or f/16 to get as much depth on the sign as possible. To get the lovely rim light down the side of each glass, I used a pair of Kino Flo single-lamp 4′ fixtures, which were very carefully flagged to be just out of frame on the right and left. It has to be almost visible to get that rim light. To get the beer to glow in the middle was the hardest part of all. It required backlighting, of course, but every angle we tried wasn’t working. The light was always hitting the black plastic counter and blowing it up. After about an hour of trying things, it hit me: cut a custom flag for the backlight, basically a notch in a piece of black foam core. Then the light would fall only on the glass and not on the counter. It worked.

Tabletop photography is an exercise in patience and repetition. It’s tedious as hell, and requires more light stands than I think I’ve ever used for any other project! Every imperfection becomes visible, and has to be taken care of. So tons of flagging, and very specific lighting throughout the frame. But the results can be very, well, refreshing! Luckily we had lots of Otra Vez beer on hand during the shoot, and no, we weren’t just shooting it!

Have you ever shot with a probe lens? How did you get the best results?

One way to modify Contax Zeiss lenses to work with Metabones Speedbooster


One of the things I’ve noticed now that I’m doing the bulk of my shooting on super 35 sensor cameras instead of a full frame DSLR is that my set of Contax Zeiss primes just aren’t getting used that much any more. Why? The lenses, most of which are f/2.8, just don’t look as good when adapted with the crop factor of f/1.5 using the Metabones IV adapter. So, why not just just use them with a Speedbooster?

Answer: because of protruding rear elements (see below) that prevent them from fitting on the Speedbooster.


It’s really quite extraordinary the difference in look that a full frame vs. a super 35 sensor makes with this glass. Using the IV adapter, my 35mm f/2.8 Zeiss becomes about a 52mm lens in terms of field of view. Sometimes the change in field of view is fine – when I want a longer focal length. But another thing happens that’s rarely desirable: what was f/2.8 on full frame now has the depth of field appearance of f/4. And the difference between apparent f/4 and f/2.8 on full frame? Huge.

Over the weekend, it occurred to me that there might be a way around this impasse. Why not get a Dremel tool and grind those nasty rear elements out of the way? A close examination revealed that the elements are useless for video work anyway. I will never be using these lenses, which are permanently cine modified already, for shooting stills on a Contax camera. So I ran across the street to my hardware store and got busy.


First thing was learning about griding wheels – turns out the one you want for this job is the aluminum oxide grinders that are designed for metal work. Pictured above is the B132 grinding stone, which worked great.

To prevent fine metal shavings from falling into the lens, I carefully used painters tape to mask off the rear elements of the lens and block the openings into the lens. Then I made sure my glasses were on, and got busy.


The metal pretty much just melts away with carefully applied pressure.


Bits of metal become flattened and hang over the sides of the real element, which I was able to scrape away with a small screwdriver. I also used a vacuum cleaner to suck out any stray metal dust.


Pulling away the tape reveals the flattened elements.



Now the moment of truth: It fits! I ground down all 5 of my lenses in my set (25mm f/2.8, 35mm f/2.8, 50mm f/1.4, 85mm f/1.4, 135mm f/2.8).



I tried all 5 of the lenses on, and all fit, but I noticed the 35mm in particular was very tight. This and the 135mm were the most difficult to work on, as they were very tight when attached to the adapter. But they seemed to fit OK after repeated grinding sessions. Woo hoo! I’ve got a set of dreamy Zeiss glass with the full frame look on my FS5!


But before you get as excited as I did, let me tell you the rest of the story. When I put one of my Canon L lenses on the Speedbooster, everything seemed fine … except the image stabilization didn’t work. Crap. What did I mess up…

A close look revealed the despite my best efforts at grinding, something had remained on at least one of the lenses that tangled with the last contact in the row. For the Zeiss glass, it doesn’t matter – it’s all manual anyway. But for the Canon lenses, you need every one of those contacts in working order. Sigh.


I’m still not sure what messed that up – but it obviously did. So my solution has to make this Speedbooster my dedicated  “Zeiss only” adapter.


It now lives in the same Pelican case as the Zeiss Contax set. I had to spring for another one to use with my Canon L glass. If were going to do this over again, I’d start by purchasing one of the older Speedboosters (you can find them on Ebay for a few hundred bucks cheaper than the new Ultra Speedbooster that I used), and plan from the beginning to dedicate a Speedbooster to the Zeiss glass, instead of thinking I could continue to use the same one with L glass.


All in all, though, I’m thrilled to have the full frame look back with my Zeiss glass on Super 35 and am looking forward to shooting my next project with this glass. Here’s why:

25mm f/2.8 Zeiss adapted to Sony FS5 with Metabones IV adapter (1.5 crop factor makes approximate field of view of 37mm):

Screen Shot 2016-05-24 at 11.29.14 AM

35mm f/2.8 Zeiss (after grinding) adapted to Sony FS5 with Metabones Speedbooster (.071 crop factor makes approximate field of view 37mm):

Screen Shot 2016-05-24 at 11.29.27 AM

Notice how much more selective the focus is on the orange umbrella in the second frame. If you’re not noticing the difference, click on each image to view at full resolution.

PS. Since this post went live, I’ve learned that Metabones makes a Contax CY -> Sony E mount Ultra Speedbooster. Duh! I would have been much better off just buying that, saving the contacts on my EF Speedbooster, and leaving well enough alone. But then I wouldn’t have had anything to blog about, would I?