by Johnnie Behiri | 4th March 2015
Our friend Dan Chung from newsshooter.com recently published a fascinating interview with Alan Roberts. We can best describe Alan as UK’s most respected camera tester who spent his career at the BBC evaluating and creating standards. Since his retirement from the BBC he has continued to test independently and you may well have come across one of his white papers while researching your camera purchase. Alan’s thoughts on “how to test and evaluate LED lights” go hand in hand with what we keep hearing from some LED manufacturers who are concerned that industry rivals are misleading their customers by indicating CRI (Colour Rendering Index) values as the most important factor about LED light accuracy, while in practice, this old “measuring standard” is actually borrowed from the architectural world when measuring lights for offices, shops and factories is required… Based on a research done by BBC colleagues, Alan has created a new way to test lights and compare them scientifically bringing a better way to evaluate different light sources. The solution is the TLCI (Television Lighting Consistency Index) which, although not an approved international standard, is recommended by the EBU and is finding success among manufacturers. The TLCI takes a measurement of the spectral power distribution of a luminaire, using a spectroradiometer. It then analyses the performance of the luminaire in the context of television. It awards a single number value to the luminaire, on a scale from 0 to 100. The significance of the numbering is the same as the CRI, but with important differences. Unlike the CRI, where a score of greater than 90 is widely regarded as the minimum for television use, the TLCI-2012 scores are more spread out: 85 to 100 – errors are so small that a colourist would not consider correcting them 75 to 85 – a colourist would probably want to correct the colour performance, but could easily get an acceptable result 50 to 75 – a colourist would certainly want to correct the errors, and could probably achieve an acceptable result, but it would take significant time to get there 25 to 50 – the colour rendering is poor, and a good colourist would needed to improve it, but the results would not be up to broadcast standard 0 to 25 – the colour rendering is bad, and a colourist would struggle for a long time to improve it, and even then the results may not be acceptable for broadcast All of Alan’s LED light accuracy test results are published in the guild of television cameramen site and can be dowloaded from here. In order to help you understand the categories on the list, here is a short description made by Alan: CCT – (correlated colour temperature) d-(distance), If values are grater then 1, lights results are not particularity reliable. Qa- That’s the TLCI score. The higher the number, better the light. It is striking to see how poorly some leading manufacturers like Gekko, Manfrotto and Litepanels with their 1×1 panels did in terms of LED light accuracy. On the other hand, Litepanels Astra and a relatively young company by the name “Fiilex” with their Fiilex 100 did extremely well! Head to newsshooter.com for the full interview Dan did with AlanRead more
by Nino Leitner | 26th February 2015
We are here at BVE 2015 in London and together with our UK man Tim Fok I had a chance to have a hands-on with the super lightweight Alexa Mini, and an extended chat with Arri product manager for cameras, Michael Jonas. As might already have read in our news post about the new Alexa camera, the new “baby” Alexa is targeted at gimbal (like on a MoVi M15) and multicopter shooters. However, when holding it in our hands we realized that this camera will also be very popular with “normal” shooters who want to stay extremely small without sacrificing the legendary Alexa quality – but they must also have the money (to either rent or buy body-only for €32,500), and the camera quite clearly isn’t a bargain. It’s tinier than I thought it would be – it feels considerably smaller than a Red Epic, but they are similar in size. It’s very lightweight and according to Michael Jonas, it comes in at roughly 300 grams less than the Red Dragon / Epic. The Alexa Mini features a set of mounting screw holes that haven’t been seen on other cameras before. Mounting it on a normal tripod isn’t its main intended purpose, but surely a lot of people will want to do just that – and Arri will sell them a cage for that. It won’t take long until other accessory makers will provide solutions for that. Due to the fact that the body is made out of carbon fibre, the mounting screw holes were put onto the metal front part which holds the lens mount – the carbon fibre would break under too much force. Be sure to watch the full video to see some of the first footage of the Arri Alexa Mini which we were able to shoot at the Arri stand at BVE, and of course also to hear all the technical details about the camera from Michael Jonas. Arri plans to start taking orders in March and the body-only price (as mentioned above) will be EUR 32,500. We are planning to shoot a review film with a pre production model as soon as possible.Read more
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