One of my favorite lights,
that is so powerful,
is remote phosphor.
And these lights have really started
to sweep the industry.
Because they're incredibly beautiful
with skin tones.
And they're incredibly bright.
As well as the ability
to be able to go 3200,
4300, 5600.
As well as green screen and blue screen.
It was an epiphany for me when I started
lighting green screen and blue screens with them.
Because the old way of lighting screens,
was putting a lot of Kino Flos with green
or a lot of Sky Panels.
With these you could do a 20x30
with just two of these Cineo HS2s.
They're incredibly efficient,
and incredibly bright,
and they do a perfect balance on the screen.
That's what I was blown away with.
We calculate one light per 20 feet of green screen.
And that's even a little much,
you can almost do one light for thirty feet,
if you have enough distance between them.
They make smaller versions of this.
On Adventurers, I was using the Matchstix,
that are like twelve inches long.
They're very small.
I was hiding them for dashboard lights,
dimmed way down.
I was putting them... imbedding them in sets,
so they actually look like they existed in there.
As well as the MavX,
which are even a smaller version of this.
Remember, Eric, on Babysitter,
we were using these things in your soft boxes.
We were able to move these soft boxes around,
because these things weigh hardly anything,
but they have tons of output.
I use these in soft boxes for key lights on my shows.
almost a hundred percent of the time.
And these are our key lights,
because the color is so damn good.
It's insane how good the... high the CRI is in this light.
What these guys have come up with,
is they've used their proprietary phosphor.
Which makes this really good colored light
out of blue LED light.
They've put the phosphor - instead of on these panels,
they're on each LED package in this light.
So now it's a bicolor unit,
but it has really high CRI.
It's not mixing RGB or RGB W or RGB AW.
It's using one color LED,
and then they use very specific phosphors
to create a bicolor light.
So now you can dial this like a Sky Panel.
And we always talk in stops.
A half stop, a full stop, alright?
This is the language of film
and now it's been tossed onto digital.
Well, so many times I'll say: hey, dim it down 10%
dim it down 50,
what is that?
I'm looking for a third of a stop,
I'm looking for a half a stop,
I'm looking for a full stop.
This actually has increments built into it.
So if you're at 65 and you go to 75,
that's a half a stop?
Yes, every 10% is half a stop.
Every 10% is half a stop.
Where all the other lights that never is...
On many lights it's a scale that I know,
so you tell me "I want half a stop left,"
I know that's maybe about 10% maybe,
or 5%.
Exactly.
Depeending on the light.
But they've actually dialed the logarithm in,
to be able to make that scale.
So by just decreasing it, you're getting your half stop.
It's the same every time.
It just makes everything faster.
You don't have to sit there and fumble for it.
Fine, oh no, oh, that's just a little...
you know it's like all these things increase
speed and efficiency on set.
You know I say we run these in soft boxes,
we don't keep the ballast on it.
We keep the ballast out at the distro box,
where we have our DMX,
and then we have a tiny little head cable they have,
that runs into the set and into the box.
And then you just have the actual red portion in the box.
Which is somewhat like this, it's very light weight.
Yeah and you know, so we're running these
in soft boxes that are only 18 inches deep.
Which means you can really stick them in a corner.
We can we can put them on end tables
We do stuff like that all the time.
It's a pretty big source.
And because you have the output,
it really gives you a lot of range with them.
Alright, so let's see the HS2s,
as well as the new HSX in our little light study.
Full up.
Let's see how bright that gets, I mean...
Allright.
It's almost as bright as the Sky Panel.
And the Sky Panel is a hell of a lot heavier.
8 and 6/10, so where was the Sky Panel?
The Sky Panel was at full up...
8 and 6/10.
Oh wow.
So we're exactly same as the Sky Panel.
They've gotten better, then, since I tested them
- two years ago.
- That is impressive.
Let's cut that for a second.
Let's see how well this baby cuts.
Not so bad.
It's kind of a soft vibe going on there.
I love how it falls off.
All right now let's...
let me take a CRI on this as well.
And then we have our 5600,
so we can just see what these... the shield.
Sets up at...
Fly the flag out.
at 97.
The CRI on this is absolutely incredible.
That's why they look so good with skin.
I just really love, how they look.
Wanna bounce it?
Alright, let's bounce it.
Watch these things.
Yeah, it's ok.
Alright.
The smaller profile also doesn't block
as much of your bounce.
Correct.
Which is huge.
4 and 6/10 on the bounce.
Alright, now let's go daylight.
Let's see how that thing performs.
So just going to shut her down
to do that.
It turns off.
You don't want to look at that light either.
Okay 4 and 8/10 on the bounce.
So it's 2/10 brighter.
Now let's go direct.
8.
So in the tungsten mode
it's about a half stop brighter.
Interesting.
Alright, let's see where our CRIs are with that.
Our CRI goes about 95.
So it just drops a couple points in daylight mode.
Now let's look at it in backlight.
And you have 5600 in.
So that'll be that nice combo here.
Yes, looks nice on the backlight.
Very much like what the Sky Panel was giving us
in the kind of softness quality.
Good skin tones.
All right now let's look at our HSX.
See what that thing's all about.
This light you don't have to deal with
any of the shields.
It's bicolor.
They're using the blue,
and they're embedding the phosphorous
onto the blue LEDs.
Look at that.
That looks good.
So you want it at 3200, Shane?
Okay let's go up in the air with it.
That's 3200 there.
Alright, 8 and 2/10.
That's very nice.
Alright, let's go daylight.
Now I'm not changing any shields.
So I can just quickly dial it right...
to 5600.
Bam, you press the button and
it toggles through the normal stops of color.
3200, 3800, 4300, 4800, 5600.
It's pretty cool.
and an 8.
So that's really nice.
Again, quick ability to be able to do that adjustment.
Not having to deal with the phosphor shields.
A very compact light,
that can be very lightweight,
put in soft boxes.
And has a ton of punch.
