Moralesm we are aware of the lightmats, but after having tested these among other lights we decided to start sell the intellytech lc-160 which has one of the best colour accurate leds in the industry. A greatly overlooked item which wasnt available in Europe before.
Yes we need to work on the branding, but independent sources like newsshooter have shown that it outperforms lights like arri sky panel, arri orbiter, prolyght orion and many others!
Here in 5600 daylight
and here in 3200 kelvin
The litemats you are using even though they were fun when they were released do show a lot lower ratings.
To make it more fun here in Europe, we have a spring sale, to make people a bit more happy now that there is a awful war going on in Europe (ukraine), etc. and to make this light affordable to everyone with -25% off.
Haha Jerome the sales man 🙂 Look it up here > https://gafpagear.com/product/intellytech-litecloth-lc-160-1-light-kit/
we also have a rgbw version with tint correction, even though its dead on regarding magenta/green you sometimes have to match it on other lights like an old hmi (that grows greener during it bulb life . lc-160 can be found here > https://gafpagear.com/product/intellytech-litecloth-lc-160-rgbw-1-light-kit/
About rec2020 you dont have to be scared! basically rec2020 is a very wide colourspace and most people are displaying their footage in srgb or rec709 (very similar), when you import rec2020 footage like Kinefinity in Resolve you basically dont see a lot of colours, because they are outside of what your monitor or your workflow can see. Most people set their color workflow to rec 709 (gamma 2.4) and if you for instance import alexa footage it will look off (asides from that its in log), thats because Alexa has their own colour space very similar to rec 2020, but differnely centered. especially in the reds rec2020 has a different skew. So in order to either display Arri alexa footage normally or Kinefinity MAVO Edge 8K footage we need to do a colour space transform, this always is being done by any professional colorist, no matter what the workflow is (unless when you work in aces which does this transform automatically), to match the colours to a much smaller colourspace and bring everything in gamut with the right hue and saturation and illuminance. Kinefinity is politically not able to create their own colourspace but since rec2020 is a standardized widegamut colourspace its a no brainer to adapt to that one. So what we give our clients is either a log transform (KInelog 3 to arri log c) to map kinefinity to arri Alexa colourspace and logc gamma, or use rec2020 and transform to rec709. In the last case colours wont be the same, alexa uses a philosphical approach to colours, and in case when using a more standard approach like just transforming colourspace you will see pretty accurate tones, but not the ‘ filmic’ arri tones, which can sometimes be good, because alexa, can not replicate a bottle of coke, while a sony venice can, alexa will show it ina dull red tone (because of substractive science) and venice in vivid red. I still believe alexa is great because the way they look at colors philosophically shows that watching colors off a monitor is different then watching them in real lige in a much higher dynamic range and gamut. Only when we start to master on wide gamuts and all screens can show this, we will see a more bias towards colours like sony venice, but i think there will always be a group of artist who favor the lower dr rec709 which is more reminiscent of a painting.
