Thread: Help with Light Storm LS1 and Kelvin temps

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  1. #1 Help with Light Storm LS1 and Kelvin temps 
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    Hi all - I've purchased a new Light Storm LS1 daylight LED panel. It is supposed to be 5500k, when I set my pocket camera to 5400k and shoot prores (flimlog) and put just about any lut on it - it looks like poo ((i usually use Hooks LUTS with great success)). It looks WAY more 'orange' or something.

    I decided to test shooting raw as well. When I open the raw file in ACR at the color I shot at (it says 5250k even though I set it to 5400k) it looks again 'orange-ish'....but when I set the kelvin to 4000k it looks much closer to what the color/skin tones should look like.

    5200k
    raw-5200k.jpg

    4000k
    raw-4000k.jpg

    If I put the prores-filmlog (5400k) clip on my timeline and put FilmConvert on it, with Filmconvert set to 5400 (default), again it's orange-ish, but even just changing to 5200k it looks a lot better.

    filmconvert 5400k
    filmconvert-5400k.jpg

    filmconvert 5200k
    filmconvert-5200k.jpg

    What's up with my light? What color temp should I set the camera to? I've had both BMCC and BMPCC for 2 years now and up until now 95% I've always just shot raw, so it didn't matter if I was a little off, I'd just adjust in post - This Sat/Sun I'm shooting 6-7 hours of interviews all day and I plan to shoot ProRes422 Filmlog (swapping hard drives and SD cards as we go along). I'm not sure what color I should use if using the Light Storm as a keylight.

    As you can tell, I am new to lighting - any tips would be appreciated.
    BMCC, BMPCC, GH4+Metabones, GoPro Hero4 Black, Phantom 2, Canon T3i, Lots of glass.

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  2. #2  
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    Side note: I ordered the V-Mount version from B&H and even though the box says V-mount version, it came with the Anton Bauer Gold mount inside. Thought that was weird because that's obviously a mix up at the factory, not by B&H. Sending this one back after this weekends shoot to get a V-mount one - assuming the right one comes in the box this time.
    BMCC, BMPCC, GH4+Metabones, GoPro Hero4 Black, Phantom 2, Canon T3i, Lots of glass.

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  3. #3  
    Yeah, you can't go by the manufacturer specs. You have to test the lights on your own. The LS1S doesn't emit 5500k. I can confirm that the LS1S is lower in color temp, especially when using the provided diffusion(tracing paper). i think you should get a grey card/color chart and balance off some scopes, if you have time. Plus, the environment changes. So you'll have to assess that on a shot to shot basis when mixing the environment's lighting with your lighting.
    Last edited by The HRHM; 03-17-2017 at 09:11 AM.
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  4. #4  
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    I shot through the "tracing paper" they included, some roscoe white diffusion paper I already had, and a 40x40" silk, and consistently it's around 4000k or 4100k. I can work with it, it's just really unexpected considering how many reviews I've see say it was relatively accurate or at least around 5200k.

    In the past when I've had to use mixed lighting or when I've had to shoot ProRes I just take my laptop, shoot a few seconds of raw, open it on the computer to check the kelvin, and then set the camera to that kelvin and proceed to shoot prores - looks like I'll have to keep using that method. Not a big deal - just surprising it's this far off spec.
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  5. #5  
    Senior Member Timothy Cook's Avatar
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    I definitely don't get 5500k with mine. I have three LS1 lights and all rate around 5100k and some change. Very color accurate but not not close to 5500k, 300-400k can throw a image off pretty severely.
    Get a grey card as mentioned or color checker, light meter, or just some pure white poster board. It really does help because you never know what other random light is contaminating your footage. And remember that the color of your room's walls, outside light coming through a window being reflected off a neighbors odd colored house, crew's T-shirt color, floor color, etc. can all effect the image.

    It's crazy to find out that what DPs actually have to consider while shooting.
    Last edited by Timothy Cook; 03-17-2017 at 09:29 AM.
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  6. #6  
    Quote Originally Posted by marshallbaker View Post
    I shot through the "tracing paper" they included, some roscoe white diffusion paper I already had, and a 40x40" silk, and consistently it's around 4000k or 4100k. I can work with it, it's just really unexpected considering how many reviews I've see say it was relatively accurate or at least around 5200k.

    In the past when I've had to use mixed lighting or when I've had to shoot ProRes I just take my laptop, shoot a few seconds of raw, open it on the computer to check the kelvin, and then set the camera to that kelvin and proceed to shoot prores - looks like I'll have to keep using that method. Not a big deal - just surprising it's this far off spec.
    Yeah, man. It's easy to get duped by online reviews. Sometimes it's either "honeymoon phase" talk or outright salesman. You'll rarely get a technical/honest review on YouTube. Most review just use the words awesome and cheap, then it's time for upload. So, make sure you test everything. You should probably consider a monitor with some video scopes. That laptop method sounds like it can be cumbersome at times.
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  7. #7  
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    I've noticed varying color temps with the LEDs that I use, so I'm not that surprised.

    I have the apurture amaran hr672s, and the F&V r300.

    Both show low 5000s when bare, but the r300 is more like 4500k when I use the milk diffusion filter. The amaran rates like 5400k bare, but changes a lot once I use their filter, soft box, or an umbrella. Drops to 4500k or so. Seems diffusion can change things a lot, which I did not realize.
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  8. #8  
    Have you tried using the adjustment in Resolve that will level out the color with the X-Rite Color Checker? While I'm usually no fan of perfect accurate color, occasionally when the situation calls for it, I've used this tool with great effect.
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